London Palladium – 31 May 2019
Reviewed by Catherine Françoise
3***
Sergei Polunin’s mixed programme at the London Palladium which received very mixed reviews was followed by the UK premier of Rasputin, the Russian peasant who became a powerful mystic with great influence in the court of Tsar Nicholas II because of the belief that Rasputin could heal his son’s debilitating illness. The story of an outsider who came to have such influence and the tragedy that ensued is dramatic ~ perfect for Polunin. Unfortunately choreographed by Yuka Oishi who also created Paradox and Sacré in the mixed programme earlier in the week, the same strengths and weaknesses evident in the choreography there, were repeated here.
Rasputin is a strong story and with a wonderful exhilarating new score from Krill Richter full of crashing drums and pulsating rhythms that scream ‘danger’ it should have kept us more engaged throughout than was the case. The problem is the dance doesn’t always follow the energy and huge drama of the score with far too much walking around, overreaching outstretched arms and melodramatic contorted faces to fill the music or the space. Strong storytelling Dance Theatre is no longer the poor relation of classical ballet and too many brilliant choreographers abound for such self-indulgence. Oishi’s work has brief moments of exhilaration and some beautiful duos and trios, but much of her work is simply far too boring and slow to express this huge dramatic story. There is a noticeable flutter for the few brief moments when Polunin jumps and spins and delivers some breath-taking fouettés en tournant in the way that only he can, but he doesn’t do this very often needs to do far more than occasionally simply jump, charismatic though he clearly is. The stage lit up whenever Johan Kobborg appeared as evil Prince Yusupov. Royal Ballet trained, Kobborg is a commanding dancer also brimming with charisma, nuance and stunning technique but not so full of self-importance. Polunin is allowed to be self-important and egocentric of course ~ this is why people pay several hundreds of pounds for ludicrously expensive tickets and even more to ‘meet and greet’, but it is pretentious and wearisome to simply strut around the stage without doing much actual dancing. When Polunin and Kobborg actually danced together in a powerful duet in the first half as the Prince tries to get rid of Rasputin’s influence on the family, the audience are gripped and transfixed. More of this choreography and dance was required throughout. Alexey Lyubimov and Elena Ilinykh beautifully and poignantly convey the desperation of The Tsar and Tsarina trying to save their desperately sick son, danced with great conviction and spirit by young Djordje Kalenic who deservedly received one of the loudest cheers at the end of the evening.
Giant chess pieces, occasionally moved or lit differently, are the only pieces of set on stage designed by Otto Bubeníček, but at times looked a little dwarfed on the vast Palladium stage. Beautiful and dramatic lighting design by Konstantin Binkin is beautiful, powerful and dramatic.
Polunin is well suited to the role of Rasputin. I look forward to seeing him in this again, hopefully revised with less bland repetitive choreography and more creative, energised dance.
Personally, I still adore Polunin the dance artist and would hope that he rises above the personal nastiness of social media and some reviews, takes on board the considerable constructive criticism that is offered by many and concentrates on dance rather than political and social commentary. I would also love to see him work with other choreographers who might perhaps be able to reign in the self-indigent strutting and preening and deliver more subtlety and Dance! His creatives and company dancers in both programmes are all wonderful artists thoroughly deserving of the standing ovations they all received.