Like a fleeting comet, Pascal Rioult Dance Theatre sizzled at Cal Performances for two nights with two different programs last weekend. Sunday program opened with Les Noces set to Stravinskly music. Following the historically successful (and scandalous at the time) interpretation of the composer’s torn rhythms and relentless melodies by the great Diaghilev a century ago, Rioult’s take is daring, boldly sexed up, emotionally charged, and highly athletic. Dressed in scarce costumes, or just the outlines of ones, his dancers look like korperkultur models, which makes even more sense in the second piece of the program, Ravel’s Wien (Vienna). Rioult turns the waltz into a transparently political pantomime, unfolding the psychological lining of Anschluss. The dancers’ moves vary from marching over their peers’ fallen bodies to swastika-like gestures; from futile attempts to go on waltzing as if nothing happened to depictions of a dehumanized crowd. No matter how many years Rioult lives and works in America, and how famous he becomes, it surely takes a European to revive a tragic episode of European history in this strikingly laconic and precise manner. The show closed with another Ravel’s piece—the best known if just balancing on being annoyingly persistent in its repetitions Bolero. Here those perfect bodies shine in slick silver costumes and sharpened robotic moves, never stopping their energetic advance, never tiring or catching a breath. Cool and composed, Mr. Rioult briefly arrived on stage for the final bows with his disciplined troupes, met with a standing ovation. To learn about future performances and to order tickets, call 510-642-9988, or visit www.calperformances.org
Pascal Rioult Athletic Dancers Express Ideas Through Motion
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Like a fleeting comet, Pascal Rioult Dance Theatre sizzled at Cal Performances for two nights with two different programs last weekend. Sunday program opened with Les Noces set to Stravinskly music. Following the historically successful (and scandalous at the time) interpretation of the composer’s torn rhythms and relentless melodies by the great Diaghilev a century ago, Rioult’s take is daring, boldly sexed up, emotionally charged, and highly athletic. Dressed in scarce costumes, or just the outlines of ones, his dancers look like korperkultur models, which makes even more sense in the second piece of the program, Ravel’s Wien (Vienna). Rioult turns the waltz into a transparently political pantomime, unfolding the psychological lining of Anschluss. The dancers’ moves vary from marching over their peers’ fallen bodies to swastika-like gestures; from futile attempts to go on waltzing as if nothing happened to depictions of a dehumanized crowd. No matter how many years Rioult lives and works in America, and how famous he becomes, it surely takes a European to revive a tragic episode of European history in this strikingly laconic and precise manner. The show closed with another Ravel’s piece—the best known if just balancing on being annoyingly persistent in its repetitions Bolero. Here those perfect bodies shine in slick silver costumes and sharpened robotic moves, never stopping their energetic advance, never tiring or catching a breath. Cool and composed, Mr. Rioult briefly arrived on stage for the final bows with his disciplined troupes, met with a standing ovation. To learn about future performances and to order tickets, call 510-642-9988, or visit www.calperformances.org
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