Ballet de Lorraine's Acid Gems and a Folia: A Dance Double Bill of Clubby Cool and Wild Energy
In a long-awaited return to the London stage, choreographer Adam Linder presents Acid Gems, a piece created for Ballet de Lorraine's double bill at the Queen Elizabeth Hall, Southbank Centre. Linder, who won the prestigious Place prize in 2008 before relocating to Berlin, has crafted a work that reimagines George Balanchine's 1967 abstract ballet Jewels with a sharp, neon-infused aesthetic.
Acid Gems: A Zingy Riff on Ballet Traditions
Instead of the rich emeralds and rubies of Balanchine's original, Acid Gems features a backdrop drenched in Wham Bar pink, illuminated by artist Shahryar Nashat with a palette of vibrant E-number colours. Trained at the Royal Ballet School but later rejecting classical ballet, Linder engages in a dialogue with his roots. The piece initially evokes the unnerving tone and aloof stares reminiscent of choreographer Sharon Eyal, with dancers moving in tight Lycra-clad groups, showcasing slow undulations and jutting hips.
However, Acid Gems expands into a more intriguing exploration, blending entrechat jumps and spiky angles with contemporary moves like the Running Man. Linder employs simplistic geometry with zinging clarity, creating a dynamic interplay between ballet and modern dance forms that captivates audiences.
a Folia: A Raucous Party with a Purpose
Marco da Silva Ferreira's a Folia taps into the same vogue for clubby, model-sexy androgyny as Linder's work. The Portuguese choreographer, a finalist in last year's Rose prize, transports viewers to a 2am dancefloor haze, complete with eccentric costumes featuring fringing, shoulder pads, tie-dye, rips, chaps, and straps, including a skin-coloured bodysuit with a green ponytail.
The piece begins with an oddly stilted 4/4 melody that unexpectedly transforms into the harpsichord arpeggios of Corelli's La Folia violin sonata, reimagined by composer Luis Pestana. This shift ignites a riotous gathering, with a raucous crowd whooping as dancers perform tricks. Da Silva Ferreira's core idea is that a wild, free dance party can change the world, though the performance weirdly recalls the hedonistic court life of TV show The Great, with its self-congratulatory celebrations of excess and exhibitionism.
While a Folia occasionally feels a bit too pleased with itself, like a guest overstaying their welcome, it delivers an ebullient highlight that leaves audiences wondering about the after-party. The double bill runs at the Queen Elizabeth Hall until 7 March, offering a vibrant exploration of dance's evolving boundaries.
