There’s clearly a feeling – and a justified one – within Rambert that Comedy of Change, their evocation of evolution, is a difficult piece hence its placement as the filling between the crowd pleasing performances ‘Hush’ and ‘Linha de Curve’. Unfortunately what this actually does is throw Comedy of Change into sharp relief as intellectual curiosity rather than living piece of art.
Thought provoking step along the way of evolution.
Taking three aspects of Darwin’s theories as their basis the piece is only a partial success. When the dancers are exploring the world of competition and connection inherent in mating dances, beautifully mimicking the desperate routines of male bird’s intent on passing on their genes, there’s a sparse clarity to the work. But when attempting to describe the more difficult to grasp concept of the changes over eons and the importance of camouflage the piece ironically disappears into obscurantism.
This is still a piece worth watching, any attempt of art to engage with the big subjects of our day is to be applauded even if, as on this occasion, it doesn’t fully come off. Comedy of Change might achieve more beard stroking than applause but there is still an impressive physicality and imagination at work and the music by Julian Anderson is a suitably complex reflection of nature.
Topping and tailing the evening were contrasting and refreshing pieces. Hush, a wonderful warm piece of inner child rearing featuring music by Bobby McFerrin and Yo Yo Ma where the dancers looked like rag dolls freed from the toy box and moved with the guileless grace of toddlers when they think no one is watching and Linha de Curve a thunderous piece full of Brazilian rhythms, macho posturing and feminine sass.
If evolution is a process then clearly so is art and here is an example, not of a final fixed form but an interesting and thought provoking step along the way.
Showing @Festival Theatre until 19th Feb