Dewey Dell proves new risks can be taken in ‘The Rite of Spring’

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Near-riots and theatre walk-outs are said to have occurred when audiences were first introduced to The Rite of Spring in 1913, by Nijinsky’s Ballet Russes. The same themes originally explored – new life, nature, sacrifice, pagan rituals – have been reinterpreted by the Royal Ballet, Bolshoi Ballet, and Pina Bausch. Now, Dewey Dell is giving it a go for one night only in the Purcell Room of the Southbank Centre, writes Melina Block.

With such a famous (or infamous, depending on who you ask) history of controversy, The Rite of Spring remains one of the most influential orchestral pieces in the modern dance canon. Taking on Stravinsky’s iconic score, now over a century old, whilst adding something new, is a brave task. Although patchy in some places, Dewey Dell succeeds in staging a performance that will make you think, if nothing else: “well, that was different”.

The costumes and set design make the dancers seem strangely tall and foreboding – it isn’t until they come out, unmasked, for their final bows, that you realise they are, in fact, of regular stature. Such is the uncanny nature of the entire show. Dim, flickering lighting and ambiguously designed animal costumes make you question what you’re seeing. This, however, is probably the greatest strength of the performance.

Genuinely unsettling an audience with a production that has been restaged countless times by most of modern dance’s biggest figures is to be admired. The use of breakdance elements, with what I assume to be ants, but could also be some type of cattle or spiders (see above, re: ambiguous costuming), spinning on their heads, is an innovative choreographic approach to a piece primarily rooted in ballet and modern techniques. Again, it highlights what is clearly a strength for the Italian company: crafting a fresh, unique perspective.

The more experimental parts will not be for everyone, and the strength of the music sometimes overpowers the dancing. Such a striking, dynamic piece of music requires movement that reflects this, and sometimes I felt that the dancing was too small for the grandiose score. Although, the maybe leaves/maybe stick insects/maybe petal characters did have particularly noticeable musicality, and provided an, unfortunately rare, instance where it seemed as though the music was actually brought to life, physically.

Dewey Dell’s performance will not suit everyone, but it will suit those who are looking to be challenged. It is the kind of show best attended with someone else, so you can argue afterwards about what you think it all meant. Even if it is somewhat lacklustre in places, it is unnerving and provocative, which seems in keeping with the original spirit of the piece.

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