Stockholm
59 (degrees) North
is
a stunning Swedish company whose dancers are also members of the Royal
Swedish
Ballet. So, this more modest ensemble is linked to history but draws
its
inspiration from new works by Swedish choreographers and musicians, or
at least
focuses on the Swedishness in dance. Whatever fuels the artistic heart
of the
company translates into a programme richly textured, boasting a
technique that
compares with any classical repertoire.
Of
the four pieces presented last week, only the first
– Cicada, a world
premiere presentation choreographed by Cristina Caprioli – left me unmoved. But that isn’t to
say
that I was uninterested. The score, by Kevin Volans, was its own challenge and the
percussive, almost
relentless, rhythms pushed me away from, rather than pulled me into the
dancers’ extended variations.
Apartment (a
U.S. premiere choreographed by Mats Ek) and Pas de Danse
(also by Ek) followed and both were emotionally engaging and
technically
dazzling without either choreographer or dancers showing any of he
effort
required to tell a story while exploring the fullest physical ranges
possible.
Ek’s theatrical skill with characterization and story that defies any
narrative
imposition is exceptional. The dancers’ passion and humour delighted an
audience that was somewhat perplexed after the opening dance.
Castrati, choreographed
by Nacho Duato, was
a stirring
final piece. Danced by eleven male dancers to four pieces of music by Vivaldi,
the ballet combined
religious passion
and overwhelming power. The ensemble’s remarkable control of classical
technique combined with an unaffected embrace of contemporary movement
was
never less than riveting, and it was always deeply involving.
Stockholm 59 (degrees) North marks my last visit to Jacob’s Pillow for this season, but I have to add that the Pillow’s programming continues to expand boundaries and audiences are clearly and obviously entranced.