Since its foundation by Roland Petit in 1972, Ballet National de Marseille has been a company respected and admired for its vision and willingness to embrace new forms of dance theatre. These have often involved other artistic disciplines, including modern art forms such as video.
The truth 25 times a second is an example of the company’s eclectic approach. Director/choreographer Frédéric Flamand was inspired by a novel, Italo Calvino’ The Baron in the Trees. No trees here, however – Ai Weiwei’s set uses aluminium ladders that link together in various formations to build an upper storey for the dancers, who climb, swing and disport themselves as easily in the air as on terra firma. From time to time the dancers shift the ladders around, at times incorporating them into the action and even occasionally wearing them.
The work calls for a high degree of athleticism, and the dancers certainly gave their all – for a full 75 minutes, with almost the entire ensemble being stage for much of the time. Classical ballet, modern dance and gymnastics were all in evidence, and all extremely well executed. The dancers were incredibly light on their feet. Full marks for fitness and energy for this cast.
There was some beautifully executed unison work, but often there would be a dozen or so dancers on stage doing a dozen or so different moves at the same time. A photo gallery was projected onto the wall behind the dancers for part of the time, and now and then a gauze drop would come down in front of them to serve as a translucent video screen. There was sometimes so much going on it was hard to decide where to focus the attention.
To be fair, I think this was the choreographer’s intention. The frenetic pace, the busyness, the uncertainty of modern life were reflected in the ever-changing vista. Yet for all its bustling energy — or, perhaps, because of it — the work aroused the emotions only tangentially. This, too, is a symptom of modern life, but not one, perhaps, one that we seek in the theatre. The hour-and-a-quarter seemed long as a result of this lack of engagement, and afterwards I found I’d seen so much that I could remember barely any of it. There were lots of cartwheels and other gymnastic tricks, some very clever double work and plenty of amazing feats aloft in the ladderish rigging, but they swept by me like the views through a train window. I do remember that the dancers changed their footwear often – sometimes there were socks, bare feet and pointe shoes in evidence at the same time. That, too, represents a truth about modern life.
As an example of what’s happening in Europe and as a display of sheer technicality, this is a show worth watching. But unless you like lengthy displays of gymnastics, you will probably only want to see it once. The put-together musical score involved at least a dozen composers. It served the purpose, but was certainly not memorable, and once you’ve seen an aluminium ladder or 12 the impact fades fast.
The company, on the other hand, is one to be aware of, and not just because of its artistic experimentation. It is eclectic in more ways than one, showing itself to be a veritable United Nations of dancers in many shapes, sizes and colours. Looking at the cast list of 16 (about a dozen of them men) I would hazard a guess that less than a third of them are of what we might consider ‘traditional’ French origin. But they are all extraordinarily good dancers and gymnasts of no mean order. Vive la différence!
Rating: 4 stars out of 5
Ballet National de Marseille presents:
The truth 25 times a second
Artistic Director and Choreographer: Frédéric Flamand
Production Design: Ai Weiwei
Heath Ledger Theatre, Perth
8 – 11 February
Perth Festival 2013
www.perthfestival.com.au
8 February – 2 March
