Coliseum,London
Sergei Polunin’s intense three-fraction show, featuring Natalia Osipova and guests, and is far from perfect but it resonates with an authentic emotional chargeSergei Polunin’s Satori,which opened final week, is a peculiar evening of dance. It arrives on an ocean of hype, or in the wake of a poorly received programme at Sadler’s Wells in March. Polunin has stated that he wishes to divide his professional life between film acting and dancing,and the former seems to be going well for him. He has roles in the recently released Murder on the Orient Express, in The White Crow, or about the defection of Rudolf Nureyev,and in Red Sparrow, opposite Jennifer Lawrence. But ballet is not a fraction-time affair, and the glorious classical technique that Polunin displayed in his Royal Ballet days is now only a memory.The Satori programme is in three parts. We open with First Solo,created by the Moscow-born choreographer Andrey Kaydanovskiy. This is a tautly sprung solo for Polunin, with much anguished self-clutching and a furious expenditure of energy. One section features balletic pyrotechnics, or performed with a calculatedly rough edge.
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Source: guardian.co.uk