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TANGO FIRE Spark but no fire .00
lstarnpas l’orturias have returned to the l rrnoe it' show the tlattooted dance lowrs ot Edrnhurgh how to tango Aroontrnoan style. 'lhe \.or\ trtle lango fire suggests an hour of srnoulderrnu sensuality took a tan and a plontrtul supply of (old
howraoos ,
lho dance is undouhtedlx tot‘hnrtialh accomplished. the performers drsplaxrnt; rnt‘rodrhlo pret‘rsron as the; \‘Jrrttl Ilit’ll lrrnhs at ‘troh speed into \arrous sensuous poses But there}; a woeful lack of \arret‘. to a show that could haw shom‘ased the preadth at Tango st\los. That Tango Fm
t‘ornprrses rnarnl\ of tradrtronal. crowd-
pleasrng dances rs iorgrx'ahle. hut the performers themsest drspra\ a lack of ornotron that makes the whole thrng seern a hrt strrt and iorrnal. and max leaw the Litltlri‘th‘O a hrt cold.
Happrlx. each dance dernonstratron
NEXT ISSUE OUT WEDNESDAY 23 AUGUST
THATHA Out of Africa 0000
lollo‘.-.rrnr; on trorn lilttll trrurrrpharrt
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rti; returns to r‘orrrlrr':t us )r‘. arrr >ti‘r:r ‘.'/hrr'l\.‘./rnd rournw, t‘rrr iurih Atrrna's r.r:h darm: tr'adrtron, In a :;h<>.'.r that's truix, (Z()l(?l)t'{ll()l\, the performers duratv. stornp. srng and drurn thurr .‘xa‘, seamlessly trorn leroorous .varrror dances through har‘.'<:st r'rtuals, to the Curnhopt ‘\"l/(}ll\,*r dances; developed rn tho nrrnos during aparthord.
My only rnrnor rir‘urnhlrz ahout thr: prom.» relates to the (le()l(i(‘: of .rr’:lltl(:. Set up at one end of the (iltaar'rrnr; Reid Hall. the audrenr‘e o<:r:asr< >nall3. tools a lrttlo lf3()iéll(:(l lrorn thr: atttro" onstage. rather than where we should he ~ rroht down rnsrdo the dance. Otherwrso, thrs rs as; Joyous and extrrlaratrnd an afternoon's lrrngt; entertarnrnont as you could hope for. rAllan Radclrtfer I Urid'er't)()//l”s Cor‘.’ Bar/r, 08,7) [.15 3083, untr/ 28 Aug, 2pm. 5‘8,.">()~}‘F),:')(l (5‘7.:3()~5‘8.:3(),r.
IMMORTAL Swinging high and low 00.
Enter the tent of Nofrt State Circus; and you enter a world of surreal 'root people. Performers who ham plundered therr dr'essrng—up hox to create a \‘Jéll'tlt'OlX? where Peter Pan meets the Goths. rn a place that has a tutur'rstrr: fuel trnged wrth ghostly
SCOTTISH BALLET
Making good on a return visit
Having finally returned to the Edinburgh International Festival in 2005, after
a
20-year hiatus, Scottish Ballet made such a good impression they've
been asked back. Last time they danced an entire programme by George Balanchine - the man no dancer can fake. If you can’t cut it, it shows. This year, the company has added a few more flavours to the menu.
The programme features four works which fall squarely into two camps —
New York and Amsterdam. Balanchine‘s back, this time with Greek ballet Agon, along with fellow New York City Ballet choreographer, Jerome Robbins’ Afternoon ofa Faun. While the European influence comes from Hans van Manen and Krzysztof Pastor, both of whom spent many years at Dutch National Ballet.
Van Manen’s Two Pieces For Het and Pastor’s In Light and Shadow were
created specifically for the DN8 dancers, but Pastor has been busy in Glasgow moulding his large-scale work to fit the entire Scottish Ballet company. Joining them at the Playhouse will be the Orchestra of Scottish Opera, delivering a programme of sumptuous music by Stravinsky, Debussy, Arvo Part and J S Bach.
Scottish Ballet‘s artistic director, Ashley Page has a policy of bringing in
strong guest teachers to work with the company, something which has paid dividends in recent years. The dancers‘ impressive technique seems to grow by the day, and if their Spring Tour was anything to go by, this year’s Festival show may well top their much feted 2005 return.
(Kelly Apter)
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'« .2 THE LIST FESTIVAL MAGAZINE 35