by DEBRA CRAINE for the Times
published: March 30, 2007
Richard Alston is so old-school it’s almost endearing. He’s been making dances for nearly 40 years and continues to make them just as he pleases, even if that means he’s completely out of step with a younger, more unruly generation. Pure dance, pure music, no trimmings: his is a rigorously applied aesthetic that seems hopelessly old-fashioned amid the hurly burly of most contemporary dance.
Fingerprint, Alston’s newest creation, is a case in point.
Richard Alston Dance Companymore...
by JUDITH MACKRELL for the Guardian
published: March 31, 2007
Red Run is a hard act to follow, but Martin Lawrance's Brink acts as a surprising counterpoint. Set to Japanese tango music, it relocates the feisty, erotic rhetoric of tango to a new 21st-century cultural mix. Particularly arresting is the middle duet in which Lawrance and an elegantly pregnant Sonja Peedo alternate between delicate, almost origami gestures of courtship and an argumentative race for primacy.
What a smoothiemore...
by LUKE JENNINGS for the Observer
published: April 1, 2007
If I were to define the choreography of Richard Alston in a single word - sad I know, but this is the kind of thing that keeps us dance folk awake at night - I'd describe it as Yang. In Chinese metaphysics, Yang is the bright, masculine, solar principal, while Yin is feminine, mysterious and lunar.
Yin-inclining choreographers might include Lev Ivanov, who created the white acts of Swan Lake; Antony Tudor, whose mutely anguished Lilac Garden and The Leaves Are Fading negotiate the territory of the female heart with such acuity; and the high priestess of alienation herself, Pina Bausch.