Death Trap, Rambert Dance Company Review

Reviews

10 Apr

Reviewed by Kay for Theatre and Tonic.

*Disclaimer: Gifted tickets in return for an honest review

Founded in 1926, Rambert is one of the UK’s leading contemporary dance companies. Renowned for its innovative choreography and dynamic performances, Rambert has played a pivotal role in shaping the landscape of modern dance. Last year it astounded audiences with its knockout touring production of Peaky Blinders: The Redemption of Thomas Shelby and now they bring their new show, Death Trap to the stage.

Rambert’s Death Trap is a powerful production that manages to cohesively portray the ‘darkly funny’ with moments of pure emotion and storytelling. Described as a ‘meta dance comedy, full of the turbulence of life and death, it’s a production that combines each of these elements seamlessly. The production itself runs for 90 minutes, and every second is fully utilised by this varied and emotive production.

The production is split into two separate parts, both of which are created by Ben Duke and each telling an entirely different story.

Part one, named Cerberus, considers the power of myth and its impact on our understanding of mortality. It centres around Orpheus and the underworld with the entire section beginning on a comedic note. A voiceover introduces the piece, while immediately distancing herself from what is ‘not her concept’. It’s haunting and thought-provoking, with our unwillingness to discuss death, and to let go, seeming to be the centrepiece.

The second part, Goat, has a religious undertone, as we are invited to watch a sacrificial ritual. The story of the second part is seemingly so bizarre that the audience requires a tour guide, and we get him in the form of Mark - a questionable reporter. At the same time as this event is taking place, an invasive journalist is absurdly questioning everything for a news report.

This piece feels more light-hearted, in a darkly humours way, than the initial piece. Goat appears to be far more political, with its undertones seeming to question numerous aspects of society. This culminates in various reasons to use their body to portray the anger at the ‘chosen one’. This piece doesn’t feel as high-brow as the first, but its storytelling is far more intentional and intriguing.

Part two is also based on the music by Nina Simone, with three of her songs being beautifully recreated and integrated into the work. At points, the production is mesmerising, with part one’s funeral couture adding to the eeriness of the first story. While at other points it’s beautifully comedic and characterful. Then at other points it feels somewhat bizarre but captivating.

The dancers in the production are incredible, their routines are faultless and elegant. They manage to perfectly reflect the distinction between the two parts, while representing the character of their roles.

The staging also deserves its own praise because while simple, both parts are immaculately presented.

Death Trap is an excellent production that fans of Rambert’s work are bound to enjoy. Further to that, it’s a show that provides moments of reflection, asking us to question aspects of our world view.