A scene from Goat, part of Rambert's Death Trap show at His Majesty's Theatre. Image - Camilla Greenwell
There’s a real talent to getting a round of applause before you’ve even stepped on stage, but Rambert pulled off that feat on the opening night of their run at His Majesty’s Theatre.
It was thanks to the traditional pre-curtain announcement about mobile phone use that turned convention on its head with a witty, irreverent, and intelligent message.
And that, right there, set the tone for the night as Rambert continued their time-honoured tradition – mission you might even say – of pushing at the boundaries of dance.
Their touring show, Death Trap, is a nifty double-header with two pieces devised and directed by dance guru Ben Duke, but both, as the title suggests, weaving through themes of death and loss with a bit of light comedy thrown in.
Rambert's Cerberus is a kinetic treat at His Majesty's. Image - Camilla Greenwell
The opener, Cerberus is, on paper, a retelling of the Greek myth of Orpheus attempting to save his love Eurydice from the underwold. On stage it’s an intriguing and kinetic feast for the eyes and mind.
It’s a slow burn – the device of a stagehand inadvertently, literally, pulled into the action comes with plenty of initial puzzling banter, not a lot of dance – but when it bursts into life it is glorious.
One of the most compelling moments comes as a conveyor of souls headed stage left into a portal to the afterlife, at times linked by a rope, as said stagehand and his accomplice try to hold them back.
The central message – as you travel through life, don’t look back – is a powerful one.
Goat is a compelling work from Rambert. Image - Camilla Greenwell
Goat, the longer second piece, was just as intriguing, as a TV presenter interjects herself into a ritual leading to human sacrifice in what looks like a gym hall.
Again, it's funny, clever and compelling with a tone of disdain for how media trivialises and makes entertainment out of tragedy and terror.
Set to a soundtrack inspired by the music of Nina Simone – fantastically sung by Sheree DuBois – this is Rambert at their best.
The sheer physicality of the ensemble is jaw-dropping at times, evoking emotions ranging from brooding dread to rising laughter to a harrowing sense of loss and sorrow.
There’s a feel of the deeper pagan running through, lightened by a gorgeous and tender duet reflecting love and loss.
A scene from Rambert's Cerberus. Image - Camilla Greenwell
As always with Rambert, Death Trap can be a challenging watch. At times you are looking at the stage thinking: “I don’t actually know what’s going on… but I really like it”.
And therein lies the joy of Rambert’s annual visits to Aberdeen. A chance to watch world-class dancers deliver thought-provoking pieces that are by turns thrilling, moving and funny which then live in your head free for days after the curtain comes down.
Death Trap is on at His Majesty’s Theatre tonight (Wednesday, 27th March). For information and tickets visit here.
Review by Scott Begbie