The new series of The Great British Sewing Bee has recently educated me on the rise in popularity of the tracksuit in men's fashion. It has become a modern phenomenon, a status symbol, and a cultural identifier. Sales of the once 'chav' uniform are now a multi-million pound business. In Them, The BalletBoyz were 'on fleek' in their colourful tracksuits; modern, brooding maleness. Generation X - all gone, making way for Millennial male discussions about masculinity. Mental health, tribalism, male toxicity, love, identity and sexuality are all entwined within the dance.
On the almost bare stage, lit exquisitely by Andrew Ellis and the BalletBoyz founders, Michael Nunn and William Trevitt, stood a brutal giant cuboid that at first ensnared its victims, then became a prison for the dancers' own self doubt, then represented the societal pressures to conform, a playground - monkey bars and climbing frames and finally, a safe space, somewhere to be in the world with a little more confidence.
The dancers were confident and compelling - each having their moment to express their individual talent but the collaborative commitment to one another was very clear. There was a bond and a language in this corps that spilled out into the meaning of the piece. The dancers shone in their own rights but it was clear that the most important message was that together, when communicating well and supporting one another, people; men are stronger.
Charlotte Harding's composition underscored this fluid, fascinating exploration of movement and maleness. Originating as a devised piece to complement tonight's second half, this was a fascinating exercise for the company - resulting in a successful, often powerful portrait. Perhaps this sees the arrival of new working methods for the company?
The second piece, Us, began life as a duet, choreographed by BalletBoyz regular contributor, Christopher Wheeldon. According to the BalletBoyz founders, the dance always felt like there was more to the story and so, for this new tour, it was expanded to include the corps. Keaton Henson provided the composition this time and the powerful music added punch to the dance. It was a mesmeric drama beginning with the six dancers, moving into a solo and finally, the original duet. Loquacious without being boring, tender without being sentimental and gorgeous without being gawdy - it is no surprise it got the biggest cheer of the evening.
The pairing of the two pieces echoed one another without feeling constrained by the themes of each and as an evening's entertainment, Them/Us was a great success.
Reviewer - Lucia Cox
on - 6/3/19
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