[vc_row][vc_column][vc_column_text]
Wales Millennium Centre hosts ‘exhilarating’ ballet adaptation
Dance Consortium presents Dada Masilo’s latest work inspired by Pina Bausch’s The Rite of Spring. The South African native has honed in on the culture of Botswana in this re-telling of the somewhat controversial Stravinsky ballet. Renowned for combining different dance forms, Masilo has brought a unique blend of traditional and modern, expressionist movement.
The ‘Tswana is the traditional dance of the country which manifests as abstract, rhythmic choreography that can best be described as syllabic – the movements are entirely enacted to match the motion of the music – sometimes jerky, sometimes flowing but almost always in sync to every beat.
[/vc_column_text][vc_single_image image=”29922″ img_size=”full” add_caption=”yes” alignment=”center”][vc_column_text]
The stage show opens with Dada Masilo’s protagonist performing a raw and animalistic dance, barefoot and topless, which sets a precedent for what is to follow. Her movements are angular and frantic, encompassing her whole body which is supple with the unusual choreography. In accordance with the original ballet, the company appear to represent nature, the Earth, the birds in the spring awakening. There was some remarkable floor work at one point, with the cast moving seamlessly within their tribal groups.
‘Tswana is said to be rooted in story-telling and healing ritual; despite this, if there was a story to be found within this performance it was very hard to decipher. However, the ritualistic nature of the dancing is apparent in the abstract performance of Masilo which is almost unhinged, as is the nature of ‘dancing oneself to death’.
The original score is performed live on stage in a grassroots fashion by Ann Masina, Leroy Mapholo, Mpho Mothiba and Nathi Shongwa. Comprising of: keys and a violin that is sometimes beautifully haunting and other times dissonant and harsh on the ears. The female vocal is stunning and powerful throughout with a control and range in the closing moments that is seriously impressive. Finally, the percussionist creates authentic sounds through all manner of instruments and objects – from drumming on a stool, to creating bells and whistles with a rope, a fishing rod and a device that imitates bird song – he is a vital component to the entire performance.
This is echoed on stage where the dancers engage in chanting, as well as claps and stomps, using their bodies to create rhythm and sound. There is contrast between the music, from loud and uplifting to melancholic; there is constant change in the dynamics and tempo – so much so, the cast break the wall to complain to the string player about the music being too fast, instead requesting an ‘adagio’ in a fleeting moment of humour.
[/vc_column_text][vc_single_image image=”29924″ img_size=”full” alignment=”center”][vc_column_text]
The show is captivating in parts and there is lots of talent on display, but the concept is somewhat idiosyncratic. It is tailored, perhaps, to the broad of mind or those who enjoy the avant-garde. The white costume segment was long and samey, losing its earlier hypnotic appeal as it seemed to build to a never-ending climax of extended mourning.
This production of all-South African dancers and musicians has a lot to shout about, namely with the involvement of the award-winning Dada Masilo but it is not your everyday theatre event. A niche concept, however, the UK premiere of The Sacrifice will certainly please the desired target audience and offers something a little different to the casual theatregoer.
[/vc_column_text][/vc_column][/vc_row]
