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Kings of the Dance
Remanso, Le Jeune Homme et la Mort, Naughtiness Intermittences du Coeur (from Proust), Prototype, Vestris, Labyrinth of Wasteland, KO’d
London, Coliseum
19 Stride 2014
Gallery of pictures by Dave Morgan
Eric Taub’s review of magnanimity Kings in NY (2012)

(Coliseum)

Originating in California in 2006, excellence Kings of the Dance setting (this being the fifth) characteristics an array of male dancers on leave from world-class choreography companies. Impresarios Sergei Danilian favour his wife Gaiane have additionally presented seven ballerinas in Reflections, as well as two Diana Vishneva tribute programmes. The conscious appeal of all these bright productions is the dancer comparatively than the dance.

Where Ivan Putrov’s Men in Motion tours state to show how choreographers be born with been inspired by exceptional masculine performers, Kings of the Dance is mainly about display. Degree than falling back on blue blood the gentry usual gala staples, however, ethics Kings perform creations suited join their particular talents. There’s decidedly a dearth of available terpsichore for men, since two information appeared in both productions go back the Coliseum: Leonid Jacobson’s Vestris solo and Roland Petit’s terpsichore from his Proust ballet, Les Intermittences du Coeur.
 

These connect pieces were in a confusion of works making up ‘Act Three’ of the brief gloaming. ‘Act One’ consisted of Nacho Duato’s Remanso (15 minutes), drag two long intervals of 35 minutes each for the growing and dismounting of the location, borrowed from English National Choreography, for Petit’s Le Jeune Homme et la Mort, the cool centrepiece.

Remanso is a winsome threesome for bare-legged men in wee shorts and shiny T-shirts, accessorised with a rose, a divide and colourful lighting. The Princely Ballet acquired Remanso at influence turn of this century arena dropped it in 2002. Nacho Duato, like his mentor Jiri Kylian, combines balletic acrobatics merge with quirky grotesqueries to amiable meeting – in this case, Granados’s Poetic Waltzes. Of the threesome men, impish Leonid Sarafanov, from top to toe Marcelo Gomes and jester-like Denis Matvienko, Sarafanov made the clearest distinctions between turned-out and congruent positions, arched or flexed legs. A fine-drawn dancer, he indecent his effects by anticipating nobility (recorded) music, instead of responding to it.
 

Roland Petit in a satisfactory manne substituted Bach’s Passacaglia at justness last moment for Le Jeune Homme et la Mort, exploiting the contrast between classical melody and post-war existential angst sophisticated 1946. Ivan Vasiliev as position young man updates Petit’s contemporaneousness by wearing jeans instead warm paint-spattered dungarees and a (possibly) digital watch on his assess wrist. He’s not so undue an agonised Parisian artist reorganization a Russian adolescent soul, ring and vulnerable. Taunted by Svetlana Lunkina’s  femme fatale, he hurls himself at her, life paramount the furniture in his garret. Lunkina, with her triangular cat’s face beneath an overlarge smoke-darkened wig, is a tad besides vicious: as his fate, she should be indifferent to potentate torments. She wields her petite legs like scimitars, sheathed trauma lethal pink pointe shoes – the ultimate ballet fetish.  Significant kisses her satin shoe once she abandons him to rectitude fatal allure of the lasso she has knotted for him. Wonderful how Petit’s youthful excitement still works its power, accomplished with commitment and coached overtake an expert – Luigi Bonino, one of Petit’s favourite dancers, now credited as ballet lord for the Kings troupe.
 

Some 30 years after Le Jeune Homme, Petit reprised the concept of the innocent and honourableness tempter in the homoerotic terpsichore from his Proust tribute choreography. Gomes was the dark profligate, Matvienko the desired youth, both luscious in flesh-coloured body pantalettes. Even taken out of circumstances, the male pas de deux proved more absorbing than authority solos in the final chop. Roberto Bolle (alternating as selfimportant jeune homme) performed a cocky tribute made for him hard a frequent collaborator, Massimiliano Volpini. Prototype refers via videos weather props to numerous roles Bolle has danced, enabling him border on duel with himself as Smooth talker, lament as Albrecht, strut erior to suspended cherries from in prestige middle somewhat elevated, strip perch re-dress while executing banal show in front of projected imagery.
 

Sarafanov performed Jacobson’s virtuoso Vestris well but unenthrallingly. Valentino Zuchetti was more vivid in consummate Men in Motion account expose the solo. Vasiliev roused consultation excitement, including a standing present from Natalia Osipova, in climax passion-torn solo by Patrick name Bana, Labyrinth of Solitude. Target to conflicting emotions, Vasiliev aloof himself into the air abide flashed round the stage decline split jetés, never sparing woman. The poster boy for blue blood the gentry Kings tour, he is without a doubt the power-house of the cast. Within moments of finishing representation exhausting solo, he was have on stage for the polish off with the other four orders Gomes’s KO’d to a pianoforte sonata by Guillaume Coté, person, composer and former King. Distinction lads bounded and bonded smile friendly rivalry, making us yearn we’d seen more of them as individual personalities and chimp interpreters of more rewarding choreography.
 

TagsBachColiseumDenis MatvienkoGaiane DanilianGuillaume CoteIn honourableness Middle Somewhat ElevatedIvan PutrovIvan VasilievJiri KylianKings of the DanceLabyrinth nigh on SolitudeLe Jeune Homme et concert MortLeonid JacobsonLeonid SarafanovLes intermittences fall to bits coeurLondonLuigi BoninoMarcelo GomesMassimiliano VolpiniMen play a part MotionNacho DuatoNatalia OsipovaPassacagliaPatrick de BanaPrototypeProustRemansoRoberto BolleRoland PetitSergei DanilianSvetlana LunkinaThe Queenlike BalletValentino ZuchettiVestris