Mr. Forsythe is one of the choreographers on Ms. Guillem’s farewell “Life in Progress” program. Unfortunately, she doesn’t dance in his superb piece of physical puzzle work, “Duo” (1996), incarnated with superb clarity and craft by Brigel Gjoka and Riley Watts, between two pieces in which she does appear.
Those works, both new, are by Akram Khan and Russell Maliphant, who both created hugely successful evening-length works with Ms. Guillem under the auspices of Sadler’s Wells, where all three are associate artists. But this time, the pieces are weak, underpowered vehicles for her gifts.
The show begins with Mr. Khan’s “technê,” a nebulous solo that involves interaction between Ms. Guillem and a wire-frame tree with waving branches that look a bit like arms. It opens with Ms. Guillem scuttling on all fours around the perimeter of a circle of dappled light. It ends with her tentatively touching the tree. In between, there is unmemorable cinematic music (amplified violin, chanting voices, mechanical beat) by Alies Sluiter, played by three onstage musicians, and a lot of whipping turns and coiling arms for Ms. Guillem.
Mr. Khan seems remarkably devoid of ideas in “technê” (which means, according to the program notes, knowledge based in practice). The movement vocabulary is thin and repetitive, the atmosphere flat. Most disappointingly, Ms. Guillem becomes anonymous in the work, which shows nothing specific about her as an artist.
Mr. Maliphant’s “Here & After,” which Ms. Guillem performs with Emanuela Montanari, is better, but not much. Its principal attribute is the lighting, by Michael Hulls, which in the second half of the duet transforms the stage into a huge checkerboard on which the pair seem to play a game of wheeling, propulsive catch. That second half acquires some excitement and momentum, further pumped up by a thudding, uncredited electronic score, but the first section is a tepid push-and-pull counter-balance encounter in yet another circle of dappled light.
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