iTMOi

Sadler’s Wells, London EC1

5/5

iTMOi — in the mind of Igor — is the perfect model of a dance work that absolutely convinces. 

Though bound up in its own self-referential codes it is totally accessible, engrossing and at times spine-tingling in its exploration of the sacrificial rituals enacted in the imagined “primitive” society of composer Igor Stravinsky’s Rite Of Spring.

The choreography and staging are quasi-surreal in this lusciously dressed and visualised fantasy  punctuated with dreamlike sequences. 

Its focus is an exploration into the subconscious landscape of Stravinsky in writing the work which broke the classical mould of ballet when first performed early last century. 

The performance by the 11-strong Akran Khan Company, to an original score by   Nitin Sawhney, Jocelyn Pook and Ben Frost, is far from an easy ride. 

The aggression is pretty unabated as the references to ballet, different folk traditions, physical theatre and Japanese butoh come fast and furious. 

The explosive symmetry of Sade Alleyne and Kristina Alleyne is crammed with gut-wrenching emotion and Ching-Ying Chien inspirationally confronts a physically demanding role. Yet there is breathing space, in the production’s intense physicality and speed, for changes of mood, especially in Yen-Ching Lin and Denis “Koone” Kuhnert’s sensually provocative duet.

The superb choreography, stage design, music, lighting and the dancers’ ability in conveying their passion, fear and loathing make this a pretty overwhelming, and unforgettable, experience.

Peter Lindley