Review: OSIPOVA / LINBURY, Royal Ballet And Opera

Natalia Osipova is not a dancer who likes to play by the rules. A dancer who never felt she fitted the mould of a perfect ballerina growing up in Russia where being long-limbed and tall was the expectation. These days, she’s a much loved Principal of the Royal Ballet, she only does the things she wants to do, and this new Linbury Theatre programme boldly demonstrates that. 

Providing a bit of choreographic heft, there is Martha Graham’s Errand into the Maze, a piece inspired by the myth of Ariadne (Osipova) and the Minotaur (Marcelino Sambé) focussing on female strength and resilience. Next up there is a new film of Sir Frederick Ashton’s Five Brahms Waltz in the Manner of Isadora Duncan, and it concludes with an intriguing and distinctive piece of dance theatre from Jo Strømgren, The Exhibition. 

Osipova is utterly commanding as Ariadne, inhibiting the role head to toe, often wide-eyed in terror, but exerting her clear, authoritative power through high kicks where her foot meets her ear. She frequently scampers about the stage, darting between the boundaries of a white rope. After the dramatic entrance of Sambé’s Minotaur, legs flexed and fingers splayed, Osipova defies gravity, wrapping herself between the Minotaur’s thigh and torso. Gian Carlo Menotti’s tense strings add some real urgency. Premiering in 1947, the work is nearly eighty years old; it's still fresh and thrilling.

After a feisty and engaging start with the Graham piece, the evening feels a little lightweight in pure dance. An audience doesn’t come to the theatre to watch a screen, as lovely as the recording of the Ashton choreography is. It’s by far the most classical work in the programme, Osipova dances freely, barefoot and wafting easily through the steps in rosy coloured chiffon. Her carefree demeanour in stark contrast to the conquering woman seen just before. 

And so, after an internal, the evening relies perhaps too heavily on The Exhibition to deliver a more lengthy impact. Those hoping to get Osipova dancing for her life will be disappointed, but that doesn’t mean it isn’t entertaining. Her fans should be used to expecting the unexpected. 

Strømgren’s work is more theatre than dance, a mini play with sections of movement feels about right. It features two strangers who visit an exhibition at a gallery, Osipova and British performer Christopher Akrill. They jostle for space and a good view of the art before becoming frustrated with each other and have a verbal altercation. Osipova speaks in Russian, Akrill in English. 

Over the course of the changing images of the exhibition they get to know each other, even becoming quite vulnerable with each other despite the language barrier. There are moments of comedy and tenderness. Osipova demonstrates rather good comic timing and Akrill is a confident actor who supports her well. There just isn’t much dancing to speak of. The 45 minutes fly by as they finish up with Akrill having almost certainly fallen for Osipova’s plucky tourist, or “foreigner” as he earlier calls her. Osipova is knowing, cheeky and flirty but they build a sincere bond. 

It’s clear from here at the Linbury Theatre that Osipova only dances to her own tune. She copies no one, and she aspires to be like no one else. You won’t find any pointe shoes here and right now, that is exactly what she wants. The result is an unmistakable contentedness to what she presents in this programme. Dance may not always be at the forefront, but she is inherently appealing and watchable, and isn’t that the true mark of a star? This is Osipova’s own unique brand of artistry.

Osipova / Linbury runs at the The Linbury Theatre at the Royal Ballet and Opera until March

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