I'm hooked. If there was a body I could steal, it would be Sylvie Guillem's (although I might just keep my own arms). Utterly exquisite, her grace and fluidity is offset beautifully by Robert Lepage and Russell Maliphant as they romp through her production of Eonnagata. Her accent, a charming lilt to her telling of the tale of Chevalier D'Eon, a soldier, spy and diplomat who was a favourite at the court of Louis XV until he was forced to flee to London and earn his living in a circus. But unlike most solder, spy, diplomats, the Chevalier was a transvestite, who not only carried out his spying missions disguised as a woman, but who also (by choice and by royal edict) wore dresses in his daily life. The story telling is vibrant, interspersed with music, sword fighting, contemplation and dancing and Sylvie effortlessly rules the stage with her charisma and presence. The ballet may miss her, but the woman has an audience all her own. Bravo! Encore!!
With that as a prelude, I was looking forward to what Carlos Acosta's retirement from the ballet to modern dance would bring. A refund. Or rather, that is what it should have brought. 90 excruciating minutes of self indulgent choreography, repetitive moments reminiscent of amateur street dancing, discordant music, tortured self expression and an utter lack of respect for a paying public. Even the sight of him semi naked, bathed in ethereal light did little to elicit a response except for the pithy comment that one could just pay auto fare for a ride to the local akkhada to see that bit of muscle flexing.... 90 minutes of my life that I will never get back for a classic case of I'm so big a star, all I need to do is show up complex. Think again. If you're not prepared to just do what the director of the dance company tells you, then leave the creativity and new productions to real talent like Sylvie Guillem and her collaborators.
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