As mentioned in an earlier entry, I love Sylvie Guillem. She graces this earthly plane purely for the benefit of our lowly senses.
I was lucky enough to see her for a second time in Wellington earlier this year, performing with Russell Maliphant (a name that conjures malcontent pachyderms in my head), who also choreographed the show, Push. It was an excellent performance, as it really couldn’t avoid being. Maliphant is a better choreographer than dancer (though that’s always a highly relative measure when one is standing next to Guillem) and it’s important to (double) qualify that by pointing out he’s a superb choreographer. Using, as ever, light and movement and their co-creations in highly interesting and effective ways. Witness the joy…
On top of this, when I got to London on my recent international excursions, my sister in law, Vanessa-Jayne, had hooked me & my brother up with tickets for Sylvie’s London show of Eonnagata, teaming with Maliphant again and some French-Canadian dude called La Plant (a name which just conjures vegetables wearing tutus in my head). This show, a biographic production about a french cross-dressing, military officer cum spy who lived half his/her life as a woman, was a real mix of theatre and dance, leaning closer to theatre, but was spectacular none-the-less.
So I’ve been stalking Ms Guillem around the world with a little help from my friends. I still love the first thing I saw of her the best, Sacred Monsters, but still, wow.