The extremes of INFRA

By Gwen Herat at the Royal Opera House, London

One cannot imagine to what extent contemporary dance has achieved its perfection unless seen with one's eyes. How the dancers create this magnificence to reveal sheer perfection, must also be felt. That is what crossed my mind as INFRA stormed on stage at the Royal Opera House. Let us first look at how this came to be in the lives of two or three dancing generations who decided to hang their ballet shoes for the moment.

Marienalla Nunez and Edward Watson in a classic movement from INFRA choreographed by Wayne MacGregor for the Royal Opera Ballet.

As we know new aspirations are not arrived at by a conscious loftiness but by the emergence of new techniques totally removed from classical ballet and which we have come to accept as modern/contemporary dance. The last couple of generations who were looking out replaced the boredom they found in ballet and suddenly seized the exuberant qualities and zest in contemporary dance. Some were eager to replace ballet while some added it to their repertoire.

So, that is how INFRA is unfurling its grandeur before our eyes.

Potential

Great choreographers such as Tetley, Van Manen, Bruce and Martha Graham recognised its potential and gatecrashed into the ballet arena to help the youth to march towards their dreams. Graham evolved it to great heights introducing fresh air and I was one of those lucky people who had the privilege to go backstage and watch how she handled her lot, sending them back on to stage which was bare with a few wooden benches as props to help with their dancing of the Maple Leaf Rag at the New York City Ballet. One week later when I returned home, Graham was dead. Sadly, I had to write her obituary before reviewing her Maple Leaf Rag.

Graham's formulated respective dance styles swept like a roaring wind across the States and UK and became the important period of Renaissance.

The Fiery INFRA

INFRA moved and dazzled the audience, because of its direct human appeal,. I can feel its vibrancy moving my seat and it is beautiful to look at. Yet, this cannot always be said of Graham style because her steps at times appear ludicrous. Contemporary is very versatile because there are no restriction, no syllabus and no hard and fast rules. The technical possibilities cover a much broader spectrum and give the dancers greater freedom. It is there in INFRA, the tidy coordination, footwork that is so vigorous with not a misstep by the large ensemble of INFRA.

It is a doctrine that allows the breathing of air, elevation and extension of limbs. All the dancers I see in INFRA are long-legged with equally long arms and when they close upon each other, looks like a coil of snakes about to strike. One cannot separate the girls from boys and all dance to the music of a single musical instrument; the piano. The bodily contraction picks each note from the air. They tend to leave behind or not associate with the Alto-Classicism that Tetley introduced to contemporary.

This is very evident in INFRA. With the art of Julian Opie, INFRA juxtapose Wayne McGregor's choreography. They have the walker's gait, a dancer's rhythm that the choreographer has instilled while Opie explores the essence of all singularities.

INFRA is a dance I will never forget though I am not a great fan of modern/contemporary. Choreographer – Wayne McGregor is one of those modern jewels in the dance scene today, popular, sought–after for his new and vibrant ideas.

Sarah Lamb and Richardo Cervera in INFRA mounted by the Royal Opera House, London

A product of University College, Bretton Hall where he studied dance and later in New York, he had been a resident choreographer with the Sadler's Wells and still later a fellow in the Department of Experimental Psychology at Cambridge University, investigating the mind-body interface in choreography. He got his big break as the resident choreographer at the Royal Ballet in 2006. There was no turning back for McGregor since.

Composer – Max Richeter who is an award-winning British composer, is found in many leading symphonic concerts both in Brit and overseas. Recent projects include INFRA, the award winning Ari Folman's Waltz with Bashir and the music installation. He has cut several solo albums.

His solo piano score for Paul Stobart was a work of intrigue with a bunch of fiery dancers living up to it in INFRA. This Royal Ballet production along with Viscera and Fool's Paradise is an important landmark in his career.

Credits

Choreography – Wayne mcGregor
Music – Max Richeter
Set Designs – Julian Opie
Costume Design – Moritz Junge
Lighting Design – Lucy Carter
Sound Design – Chris Ekers
Ballet Master – Gary Avis

Cast

Ensemble – Females
Yuhui Cervera
Olivia Cowley Hirano
Melissa Hamilton Kay
Sarah Lambžric Underwood
Marienalla Nunezždward Watson
Samantha Raine Watkins
INFRA is the 15th performance by
the Royal Ballet at the Royal Opera House.