Review: RACHID OURAMDANE & BALLET DU GRAND THÉÂTRE DE GENÈVE, Sadler’s Wells

The Dance Reflections by Van Cleef & Arpels Festival continues at Sadler’s Wells with Outsider by Rachid Ouramdane & Ballet du Grand Théâtre de Genève. It's an experience which goes something like: yes, no. And no.

The curtain rises and we're immersed in an architectural spider's web of sorts. Black wires cross the vast stage at all levels and heights, and the 20 dancers of the Ballet du Grand Théâtre de Genève inhabit the space like a weather system.

They whoosh and swirl in an intoxicating manner, and prove that simple movement can be enough when executed with expansiveness and bravery. Most interesting is the journey from the vertical to the horizontal, and back again. This is realised by both individual dancers tumbling with ease, and duos using sophisticated versions of playground material focused on swing and pull manoeuvres.

The programme promises fusion between “extreme sport and dance” - however this isn't the case in practice. Yes, there's the odd parkour in feeling during a solo moment, but structurally speaking it's either the dancers or the four “extreme sport athletes” performing separately. Sure, they happen to be on stage at the same time, but there's no powerful, or distinct connection between the two apart from a bit of conjoined hanging like meat in a butcher's window.

Of course there's something momentarily impressive about a person tightrope-walking, but it doesn't last for long. It also raises the debate concerning skill-based work and whether it's enough to transcend into the realm of art. For me, it isn't enough here. 

After a good 10 minutes of wobbly balancing, the group return and prove that simple movement isn’t enough when the overall choreographic structure lacks development, pace, connectivity and a fundamental reason. Ouramdane aims for a crescendo moment using simple step togethers, but it doesn't have the same impact as say, how Jerome Robbins would use basic movement to create a rush of energy. 

Like the overall work, the music by Julius Eastman for four pianos is promising and engaging for the first section, sounding like a more unpalatable version of Philip Glass. But by the end, the score truly grates and one just wants it to stop. I appreciate what Ouramdane was going for, but it didn't work this time. 

The Dance Reflections by Van Cleef & Arpels Festival continues across London until 8 April

To post a comment, you must register and login.