Review of Birmingham Royal Ballet’s ‘Luna’: “Seeking its star quality”

The Sadler’s Wells hosts the London premiere of this new anthology piece mixing historical and mythical elements through the eyes of five different choreographers. Guillermo Nazara shares his views on the production, to let us know if this astronomical effort ends up delivering a celestial touch.

There’s something inherently mystical about the moon, though nobody can explain why. Maybe it’s the eerie beauty beaming down from its cracked, pale skin. Maybe there’s some kind of natural connection science is yet to discover. But regardless of what causes it, it’s quite impressive to think how the most mind-blogging fantasies can so effortlessly unravel just by looking up to that single, little spot reigning over the night sky.

Last night’s performance of The Birmingham Royal Ballet served as the last installment to a tradition that’s inspired some of the most revered works of art in all history. Luna, an anthology piece displaying six separate narratives ranging from children’s lore to mythical reveries, celebrated its London premiere on the Sadler’s Wells stage. A team effort bringing together the talent of five different choreographers, and weaved through the ethereal notes of Kate Whitley’s minimalist score (also featuring an arrangement of Faure’s Requiem), the montage blended heaven with earth to create a visually stirring montage honouring the dual reality that concocts our human essence.

Delivered with passionate force and driven by an almost rapturous sense of pathos, the show manages to grip from an aesthetic perspective in most of its numbers. However, there’s an absence of recounting cohesiveness that prevents all the renditions from acting as a whole, giving the slight impression of being assembled without a proper, well-defined storytelling direction – and occasionally, unable to convey the message in some its sequences with sufficient effect.

As a result, we are presented with a work that has form, but not enough layering or profundity to drag us further (and efficiently) into its emotional aspects. We are captivated by its looks at the beginning, but it loses grasp as soon as its fractures start to emerge. The reason for that also stems from many of its dramatic elements lacking order and structure – too often, appearing to be chosen in a rather aleatory manner, a decision that inevitably affects not only its pacing, but also its ability to trigger any meaningful sentimental reaction.

With that wonted journey struggling to happen, and somehow replaced by a more static concatenation of unrelated items, the montage is still capable of transporting us in a soft spiritual way through the zest and poignancy of its executions – designed with elegance and some flecks of originality, while also flaunting some hints of intuition in its choices. On the other hand, Whitley’s filmic and symbolically sounding compositions (exuding influences from legendary names such as Danny Elfman, but primarily, Philip Glass) secure some robustness in the overall feel of the piece – vividly brought to life (despite some minor phrasing flaws) through Yi Wei’s conducting.

As for the corps, the whole company boasts commitment into their performances. Yet, such magnetism is not evenly matched by a complete demonstration of rapport, with several ensemble moments missing enough precision and coordination – subsequently compromising the general aura of its rendering. In any case, principal dancers Beatrice Parma and Javier Rojas make a most astounding appearance in the show-stopping number, Unwavering – oozing magnetic flair and almost spotless technique in a rendition that encapsulates the whole purpose of the production entirely on its own. Nonetheless, the highest praise goes to soprano Marianna Hovhanisyan, for her absolutely unblemished and vigorously delicate operatic interpretation – filled with heart and method in equal doses, both of which are unquestionably teeming.

A piece of esoteric love and philosophical pungency, Luna sets up an enthralling premise for what could have been the ultimate example of contemporary classical dance. However, it finds difficulty when moving beyond its own conceptualization, giving us some discreet indications of where it’s heading to, but ending up at a loss when attempting to implement them. There’s a great chance of turning it into something that can truly stand out nonetheless, but for that to occur, a stronger understanding of visual storytelling, apart from a more polished articulation, will be crucial so such magic can finally unfold. As of now, it aims for the stars, but can hardly take its audiences over the moon.

All pictures credit to Katja Ogrin.

By Guillermo Nazara