Live music, Roland Mouret-inspired costumes and muscle definition that Madonna would envy. What else could you ask of a night out?
With Rambert the answer is much more - as four diverse pieces from their extensive repertoire demonstrate.
The haunting hope of the all-female L'eveil explores the awaking of the femininepsyche to the live accompaniment of Kurt Weill's lamenting love song, Je ne T'Aime Pas, and climaxes with a sensual and resonating rendition of Feeling Good, immortalised by Nina Simone.
Mozart's Gran Partita is injected with an infusion of celebrationary movement that traversed the centuries, suggesting that dance and socialisation were then, as now, the lifeblood of society.
Infinity, with its white Egyptian-themed costumes, yogic positions and discordant sounds, creates powerful visual images representing the brutal processes of birth, life and death.
But it is Chris Bruce's prisoner of conscience piece, the revived Swansong, which leaves the most lasting impression. With insidious menace conveyed through balletic tap, theatrical irony and pan-piped South American sounds it is as compelling today as when it debuted more than 20 years ago. The spirit rising to embrace the slanting sunlight, following death, is exquisite and encapsulates the artistic versatility of this award-winning dance troupe.
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