Don't look Bach
In one of the Festival’s dance highlights, English superstar David Dawson choreographs a DUTCH NATIONAL BALLET performance to a Bach accompaniment. Kelly Apter asks why it has taken him so long to bring his work back to Britain.
rom the Royal Ballet School to the
lidinburgh International Festival: at first
glance David Dawson’s career has a text book trajectory. And yet. the Iinglish choreographer has taken quite a circuitous route to where he is now. When Dutch National Ballet perform The Grey Area as part of their Festival triple-bill. it will be the first Dawson work seen on British soil. (‘ompanies in Europe. Australia and America all have the 33-year-old in their repertoires. so why not us'.’ The answer lies in Dawson‘s incredible thirst for learning. a desire so strong it sent him scurrying across the Channel.
Born in London. Dawson spent his early years at the Arts liducational School (where he was best pals with everyone‘s favourite male swan. Adam Cooper) before moving on to the Royal Ballet School. With (‘hristopher
Wheeldon (the man Pennsylvania Ballet‘s stunning Swan Lake. also at this year's Festival) in the year below. the prestigious school was clearly doing something right during the late 80s. From there. Dawson joined Birmingham Royal Ballet. quickly becoming a favourite of artistic director. Sir Peter Wright. But even he couldn't stop Dawson’s feet frotn itching. ‘I felt a little suppressed.‘ he explains. ‘Peter really liked me and l was playing lots of good roles even though I had only been in the company a short
time. But there wasn‘t enough repertoire for
me. I wanted to do more ballets more often — and to see and do other things.’
The briefcst of spells at linglish National Ballet followed (‘it wasn‘t my cup of tea‘) before Dawson headed over to Holland and the Dutch National Ballet. At last. he had found somewhere to hang his hat — for a few years at least. 'I needed to dance as many ballets as I possibly could. just to satisfy that hunger for new things.’ says Dawson. ‘So i went somewhere where I had to learn ten ballets in three months. Dutch National Ballet also seemed more cutting edge and of its time — heading towards the 21st century and not just reviving things from the past.‘ Five years and countless ballets later. Dawson was invited to become principal dancer at Ballett Frankfurt. but his association with Dutch National Ballet was far from over.
In 2002. Dawson retired from dancing to concentrate on choreography. and after two years of freelance commissions he was appointed resident choreographer back at Dutch National Ballet. His aptitude for
responsible for
creating works had been spotted during his dancing days. His first attempt. Born Slippy. set to the Underworld song of the same name. received great acclaim. But it is Dawson‘s association with Bach which has brought him most success. Having used the German composer‘s music on a number of occasions (including the beautifully titled A Million K isses to my Skin) Dawson turned to him once more for The Grey Area.
Using a rhythmic augmentation of his music. reworked by composer Niels Lanz. the piece tnarries contemporary dance with classical technique. It was also created at a pivotal moment in Dawson's life — the death of his grandmother. The ‘grey area‘ of the title refers to a limbo between this life and a potential next. ‘lt‘s about endings and beginnings. life and death.‘ explains Dawson. ‘My
‘I WANTED TO DO MORE BALLETS MORE OFTEN - AND TO SEE OTHER THINGS’
gramlmother. who I was very close to. was dying and i wanted to make a place where I thought she could go. 1] September had just happened and it made me think how it would all be such a waste if this was all there is.‘
()pening to critical acclaim in 2002. The Grey Area is one of three works presented by Dutch National Ballet this Festival. The sandwich around Dawson's meaty filling comes courtesy of late greats. George Balanchine and Jerome Robbins — two of the biggest crowd-pleasers of 20th century dance. Balanchine‘s Lu Vulse fills the stage with 38 performers. all dancing with an almost frenetic energy to Ravel‘s score (played here by the Royal Scottish National ()rchestra). while Robbins (best known for choreographing West Side Story) uses ten orchestrated pieces by (‘hopin to poke fun at audience members in The ((Illt't’l'l.
How does Dawson feel about making his L'K debut at such an important festival. programmed alongside two giants of choreography"? 'l was really surprised.' he laughs. ‘The lidinburgh Festival is hugely important in terms of world culture and it makes the very proud to be part of it. I love both of the other pieces — [.u Vu/se is almost narrative and The ('(meert is a comedy ballet. whereas mine is mostly physical and emotional. so all three works are very different.~
Edinburgh Playhouse, 473 2000, 1-3 Sep, 7.30pm, £74238.
2:") Aug; 8. Set) 9001') THE LIST FESTIVAL MAGAZINE 87