Nijinsky’s The Rite of Spring is an iconic modern work of art that has been adapted by ballet companies all over the world since its premiere in 1913. Set to Igor Stravinsky’s famously dissonant score, it was a revolutionary work that caused audience riots and still sparks heated discussions.
Ballet BC’s new work, Rite, takes its inspiration from Nijinsky, but aside from a few audience members who left before it was over, the piece received a much warmer reception. I can understand why a few people had to excuse themselves from the theatre during the performance — Emily Molnar’s choreography was set to an original score by Jeremy Schmidt of the rock band Black Mountain, and it was a cacophony of high pitched, piercing, industrial sounds that were, frankly, not easy on the ears.
The eyes, however, were treated to a beautiful, minimalist set by Bocci creative director Omer Arbel that featured a low hill in one back corner, a large branch in the other, and each of the front corners sloping down in front of the stage. The completely white stage was a stark contrast to the black costumes of the dancers and added to the post-modern feel of the work.
The black costumes, harsh soundscape, and ominous whispers at the start and finish of this work created a dark, almost nihilistic tone that seemed to oppose the original intent of Nijinsky’s work. I had to keep reminding myself that this was not a new interpretation of the work, but simply inspired by it. Other than some similarities in choreographic form and the creation of a busy, chaotic stage, I found it hard to draw a connection between this and the original Rite.
The program describes the work as taking place after the original ends, “where the body, mind and spirit transition.” While I found it hard to reconcile that with what I was watching, I enjoyed the original movement vocabulary, which did pay tribute to the inimitable Nijinsky.
The second half of the program was another work inspired by The Rite of Spring, Consagración, which was set to Stravinsky’s original score. Gustavo Ramirez Sansano’s choreography also paid tribute to Nijinsky, but used that spirit to interpret the transformation and exhilaration of puberty, as described in the program notes.
With large upside-down pyramids of black fabric strips creating unique lighting effects, the dancers began this piece in white tunics and moved in synch with sharp, optimistic energy. They gradually removed the tunics to end the piece in underwear, and two of the male dancers performed an emotionally charged pas de deux which left the house rapt.
For more information, visit balletbc.com.
