The same choreography can transform when filtered by different sensibilities. Juliet Burnett talks with colleagues Miwako Kubota and Amber Scott about their approaches to MacMillan’s Concerto.
The second-movement pas de deux in Sir Kenneth MacMillan’s Concerto is widely considered to be one of the most precious jewels of 20th-century ballet. The ballerina who created the central role, Lynn Seymour, describes it as “a romantic impressionistic sequence which resulted from Kenneth slyly observing me working alone, an hour on pointe before evening rehearsals. He transported curving movements of concentrated simplicity – an arm slowly dropping, a leg stretching sensuously – into a joyous pas de deux.”
Many ballerinas have performed the central role created by Seymour since its premiere in 1966. This year in the British Liaisons program, Amber Scott, Miwako Kubota and yours truly have been given this honour. In an abstract ballet like Concerto, and while respecting the parameters of the choreography and music, one dancer’s interpretation is going to be different to the next. This is especially true for a pas de deux, where partnership dynamics and chemistry come into play. I am always fascinated by how different one piece of choreography can look on other dancers – not just owing to the different shape of movement that another physicality will articulate, but to the personal nuances that dictate a different mood or emotional intent. For this pas de deux, individual expression is at the crux of its beauty. To illustrate this, I thought I would offer you an insight into three different interpretations by asking Amber and Miwako for their thoughts, and then offering my own too. (more…)
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