If you like classical ballet, move on. There is nothing for
you to see here!
Before entering the theatre there are warnings that loud
music will be part of the performance and sure enough, I saw people putting in
their ear defenders just before curtain up. This is a revolution; it’s
controversial and unexpected. English National Ballet tipped upside down. Any
hope for tranquil, beautiful, classical ballet is turned on its head. Akram
Khan, the choreographer, had a dream, and this is the result. 'Creature' is a
masterpiece. The physical expectations on the company must be exhausting, the
perfection of the synchronicity of the dancers is perfection. Soldiers marching
in step with a feel of prancing horses, violent with visibly tight fists, not
graceful but immaculately executed. Over a year after it was due to be performed,
we now have the chance to see this unmissable work. Sadler’s Wells, such a
wonderful theatre to see dance, hosts 'Creature' on a bleak set that looks like it’s
just thrown together and sure enough as the story unfolds so does the set begin
to decay.
This is a story of loneliness, love and despair. Heart-wrenching, disturbing and it will shake your feelings to the core. Is this
creature worthy of our pity? What we see at the beginning as an abhorrent animalistic
monster eventually manages to change the audience’s feelings. We feel the
injustice and we are quietly championing him deep within us. Aitor Arrieta
plays the monster, the writhing and the body shapes made through his dance
allows you to see the ugliness, the tortured body, and the isolation. The
creature is not portrayed as a normal man and yet Arrieta’s movements are truly
beautiful and mesmerising.
Set in a dilapidated arctic research station. This has
throwback tones to Frankenstein who roams the wilds of the arctic. However,
Akram Khan, echoes Georg Buchner’s unfinished play of Woyzeck written in
1836/7, taking the monster, the creature, the beast and making him a journeyman
soldier. Watching the performance, you are not sure how much is real and how
much is fantasy. You are led to believe that it is modern day, in that it
reflects the tragedy of being used and alone, but yet looks to the skies for
space travel, the future. It flits all over the place.
Deep in the psyche of the creature he is able to love and if
he can love, we can love him. The love interest is Marie – beautifully performed
by an utterly delicate Emily Suzuki, she begins to trust the creature and her
posture throughout their movements together demonstrates a gradual leaning and
closeness towards him. Our villain: the Major, performed by James Streeter, has
presence and poise, his character seems to glide around the stage and yet we
know he is important through all his subtle movements. The only other female
lead is the doctor danced by Sarah Kundi – important and feisty, yet notably
sophisticated. James Streeter as the Captain, portrayed by Henry Dowden also
putting in an important role but he must not question the Major. At this point
who becomes the real creature/monster?
Without giving too much away we have death, despair, loss,
grief and a broken heart. All of this performed by a stunning and regimented
cast pulls at your heart strings. The unbelief: no happy endings this time.
I have to give a nod to the innovative and original music
arranged by Vincenzo Lamagna who entered Amran Khan’s dream. Together they
developed music around and using Richard Nixon’s telephone conversation from
the first moon landing. Andy Serkis’s voice is used intermittently throughout,
giving the whole performance an eerie and strange feel.
If you want to see modern contemporary ballet or ballet
pushed to its traditional limits, then this is for you. 2021 is a year of
change and Akram Khan’s 'Creature' is that. The audience were on their feet
applauding at the end. Not for the faint hearted – but for those of us leaping
into the modern world. Simply stunning.
Reviewer - Penny Curran
on - 24.9.21
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