Review: TWICE-BORN; SCOTTISH BALLET, Sadler’s Wells

Scottish Ballet return to Sadler’s Wells with a triple bill. One film, and two live pieces. All of the work is contemporary dance based, and acts as a vehicle for the company dancers to show off their well honed, dance capabilities. I wonder if a classical piece could have balanced things out and allowed the dancers to show their full range of talents?

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The evening starts strong with a dance film; Dive by Sophie Laplane. Laplane was a dancer in the company and created this work in 2021 in collaboration with James Bonas. The film is inspired by French artist Yves Klein, and there's lots of his influence via the performance art flavour and the renowned IKB: International Klein Blue. The deepest of deep, blue hues - whether shown through the set, costuming or puffs of blue breath. 

Laplane understands the power of dance on film, with the help of director Oscar Sansom, and takes the audience's eye exactly where she wants it. Bird's eye view, zoomed into a body part or mirroring the speed of the action.

The content is tasteful and engaging, using stillness and form to draw attention. The material at the beginning of the film; white attired dancers in a white box with an adagio feel is something I'd personally like to see explored, into a piece for the stage. Laplane offers worthwhile work, with masses of material to develop and take further. Let's hope it is.

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Schachmatt by Cayetano Soto is a one trick pony. A well rehearsed, expertly danced, high production value, stylish one, but fundamentally lacking in depth or range. It starts with a camp, Weimar feel. Dancers dressed as sassy jockeys, executing gesture heavy movement with constant exits and entrances and I'm afraid that's about it.

The work isn't bad, but if you offer the same thing over and over again, it's inevitable it will lose its appeal. And it does. Some dynamic range could improve things.

Closing the evening is Twice-Born by Dickson Mbi. The work is on the chunky side, some 50 minutes, and Mbi took inspiration from ancient parables to create an “epic narrative, set in another world where matriarchal figures are sacrificed and reborn.”

Mbi is also responsible for the score, so it's verging on a one man show. The set takes us to a dark, volcanic rock environment, but I didn't find the narrative epic, or as profound as it intended to be. Community is evident, but this is often shown through basic language in endless unison, so not the most inspiring of set-ups.

The role of women in the work is plentiful and bizarre. We start off with a lonely outsider, next there's an evil leader, then a sacrifice who's reborn and takes to the sky (on wires!). In one section we see women dragged onto the stage by men, manhandled, then dragged back off, which feels both dated and uncomfortable to watch.

Mbi is capable of working a large group, yet I didn't find the patterning or material going anywhere new, which seems like a wasted opportunity. It's difficult to find a voice in the oversaturated, contemporary dance ecology. And with important, established voices like Akram Khan, Russell Maliphant, Crystal Pite and Hofesh Shechter so prominent, it can start to feel like everything else is reference heavy or a homage in style.

Perhaps choreographers should focus less on feeling and more on form. As emotions, if desired, need to come from somewhere/something, they can't be force-fed via moody lighting and emoting. The work needs foundation, and without that, longevity isn't even up for discussion.

Twice-Born runs at Sadler’s Wells until 8 March

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