The title relates to the number of days given to four commissioned choreographers in which to create a new piece around the theme of balance. Each choreographer was twinned with a composer and Fourteen Days was the result.
14 days, 4 choreographers and composers, 11 dancers later the variation that has resulted inspired by balance is mesmerising.
Javier de Frutus (choreographer) and Scott Walker (composer) produced The Title is in the Text under Paul Anderson’s harsh lighting to kick off proceedings. There is something rather bleak and existential about both Walker’s composition and Anderson’s lighting. Frutus puts a giant seesaw centre stage on and around which the dancers scuttle bounce, balance and climb.
Ivan Perez and Joby Talbot hypnotic Human Animal is in contrast to the first piece. This was kaleidoscopic and rather equine in nature, reminiscent of dressage, and horses on show.
Stand out for me was Christoper Wheeldon and Keaton Henson’s duet Us. Danced so intricately and with such strength by Jordan Robson and Brad Waller.
Craig Revel Horwood and Charlotte Harding closed out the first half with a passionate display in The Indicator Line.
That the music was played by a fourteen-piece live orchestra was a nice touch.
The second half consisted of a revision of Russel Mailphant’s 2013’s Fallen. Beautifully lit by Michael Hulls and powerful almost tribal thumping score by Armand Amar.
Nunn and Trevitt’s ability to bring together these disparate dances under one banner and in one show epitomizes Balletboyz. Powerful lifts, holds and carries coupled with intricate floor work and repeated motifs, binds Fourteen Days together as one whole. The bringing together of the newness of Fourteen Days and revisiting Fallen meant the show felt nicely balanced.
The show is a testament to the variety of the human mind given a theme, but also the dexterity and complexity of the human body in motion. The Boyz are back in town!
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