There was a time when the term ‘world première’ was not as fashionable as it is these days. Great works simply ‘premièred’, and their artistic status was not diminished by the fact that the opening had not been advertised as a globally significant event. Which is what ‘world première’ implies, even though it is seldom the case. The term has a sensationalistic ring to it, and should therefore be used carefully and sparingly. According to a recent press release, David Dawson’s The Human Seasons is the second of the five ‘world premières’ that the Royal Ballet will perform this season. Fortunately, this new creation deserves global recognition and admiration, for it is a splendid example of theatre and choreographic composition.
Dawson’s dance-making stands out for the inventive appropriation, manipulation and use of both the classical and neoclassical canons. His choreography is refreshingly innovative without ever being unorthodox just for the sake of it. Central to the performance is a seamless outpouring of well-considered, theatrically surprising ideas and an extraordinary use of space. Thanks to both, the overall effect is of a dance that flows through a constant crescendo of engaging ideas. There are thematic reiterations, but their use never compromises the breadth of the choreographic development. Seamless action and full use of space — which gives the impression of the action starting and continuing in the wings — are distinctive traits of that northern European choreographic school that Dawson operates artistically within. Yet, there is more to The Human Seasons than the application of a particular choreographic school. The work, inspired by Keats’s verse, addresses facets of human emotions. The theme is not a new one, and has often been chosen by other famous dance-makers. Here, however, the illustrations of different moods is never rendered too graphically, and the ‘seasons’ of the title conjure up a range of intense atmospheres.
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