Germany is a manufacturing nation, so we’re often told, but it’s not just cars and chemicals they churn out, they do a nice line in modern ballet too, as Stuttgart Ballet’s Made in Germany demonstrates.
This is an extensive (there are 13 pieces in the programme) overview of works made for the company, ranging from an extract of founder John Cranko’s Romeo and Juliet (1962) to Edward Clug’s Ssss… (2012), one of seven pieces making its UK premiere. Surprise, surprise: 13 dances in one night makes for a bitty and overlong show. They come and go like an over-eager waiter whipping away your plate before you’ve really had time to get your teeth stuck in, and the various flavours are easily forgotten on the long trail through this tasting menu.
There are some gems in here, though. Especially Maria Eichwald and Evan McKie in a dreamy extract from Cranko’s enigmatically titled Initials R.B.M.E. (1972), where the tall but gentle McKie so delicately rotates Eichwald’s body it’s as if she’s a bubble he doesn’t want to burst.
But there are duds too, including the most ill-judged use of a Johnny Cash song ever seen on stage, as Marjin Rademaker jiggles his legs and scampers farcically to the deeply powerful sound of Cash’s Hurt. It’s a thoroughly befuddling offering from Stuttgart’s current resident choreographer Marco Goecke. (Is it supposed to be funny?)
There are great dancers in this company, like Alicia Amatriain (specialism: 200-degree splits) and Friedemann Vogel, but not enough dynamic material, and they have their work cut out to keep the energy and focus in this format that undermines the talent it’s supposed to show off.
Made in Germany ends tonight. Stuttgart Ballet performs The Taming of the Shrew 22-23 November. sadlerswells.com
