Composed by an award-winning acclaimed team, Emergence tests the boundaries of being and how we survive collectively as one. Olivier-award winning director Crystal Pite takes the helm in the Scottish Ballet’s insect-style contemporary reimagining of the what ballet should look like.
The first portion, ‘Entress,’ is choreographed by equally formidable Julia Cheng (credits include Cabaret and Fiddler on the Roof ). Cheng through lyrical movement creates sequences which seem to revolve around teaching or supporting others – a dark cloaked figure at the back of the stage (Rishan Benjamin) reflects the movements throughout of the dancers downstage. A large insect net-like structure hangs over the performers, impending and dangling closer and closer – this is world where you must act with haste to survive or you will be reborn, or killed.
The two pieces work at their best when small, intimate movements are made. The dancers shower the stage, and subtle arm movements provide a key allegory for cerebral struggle for these creatures alongside larger more flowing movements. The insects pair perfectly with this cerebral and physical study, as the insects move in such a way to transfer feelings of humanity into animal form.
Choreography in ‘Emergence,’ the closing segment, perhaps looks to pursue this less as the performers become militaristic in their movement, counting numbers in a terrifyingly battalion sense. There are points where you fear these creatures are stacked against each other, and provide a threat. Their force altogether (especially from central dancers Urara Takata and Harvey Evans) becomes emblematic of humans or minuscule populations. Insects are the perfect choice for representing this, as they are so understated and homogenous yet truly so uniquely different. Thus, the piece can work with transparency and ease.
The rhythmic, frenetic movement which these performers adopt is simply spell-binding and highly addictive. Despite the fact in some sections the stage does seem plagued with a few too many performers, what this creates is a perfect swarming effect. Moments are strongest, however, especially in the first portion when there are fewer performers onstage moving in harmony. Sections of canon and subtle arm movements work so intricately and mechanically – it is easy to forget the individuality of these dancers. However, the importance of individuality is maintained in ‘Entress’ as the protagonist (Kayla-Maree Tarantolo) battles with the cloaked figure. There is an underlying personal struggle which we encounter, as the individual must confront themself and their issues with belonging: the key theme of the piece.
The score and composition bring delightful syncopated beats, which create a clear urgency and struggle to break through the norms. Composed by Isobel Waller-Bridge, the music serves to clash and work against in ‘Entress,’ with electronic and synth overtones creating a seamless blend with the string quartet. Perhaps at points, the music does a little too much, especially at the opening of ‘Emergence.’ This overshadows action onstage and creates a kind of friction between the two.
This is a piece of collective harmony, and the fight to be homogenous. Oddly threatening, this is ballet which will plant seeds of questions about urgent connection and cohesion.
Emergence is running 7-10 June 2027 at Bergen International Festival and ran at the Festival Theatre previously.
Image by Andy Ross, provided to The Student for press use.
