Natalia Osipova: Pure Dance

Tonight, well, London Literary Walks was back on - but I'd already booked with Up in the Cheap Seats (UITCS) for Natalia Osipova in Sadler's Wells. And, happily, nothing got in my way this evening! Sadler's Wells, of course, is close enough that I can walk. And that's what I did, arriving in time to meet the others outside the theatre, as arranged. We were spread throughout the house tonight, and agreed to meet at the First Circle Bar, as a compromise, at the interval.

One left in time to go to the toilet before the show - and, as is common, once one moved, there was a rush, and we all went in. The usual long climb up to the Second Circle ensued - great exercise, going to Sadler's Wells! A packed house: I was in my usual row - M, furthest forward at the cheapest price - but over the side, for once, which was described as a "restricted view"! Hah!

Well, a teeny corner of the stage is obscured by a slim safety rail - with a see-through mesh underneath - and a teeny bit of the side by the lights and slips. Seriously, you'd really have to contort yourself to restrict your view in this seat! I don't think there's a bad seat in the theatre.

A show with fewer dancers than I'm used to, this opened with two pas de deux, featuring Osipova with two different male dancers. Long pauses were needed between dances, of course, given that the same dancers might be in consecutive pieces - not least Osipova herself! The first piece, The Leaves are Fading, is simply a beautiful, fluid piece, set to Dvořák. The second piece, Flutter, is more aggressive, set to more modern music, and sees the performers wrestle each other across the stage. In the final piece of the first half, one of the male dancers performs a solo, In Absentia, which seems to be prompted by him getting bored of just sitting in front of the telly!

At the interval, we mused about what all of that might have meant, seeing that none of us had seen fit to get a program! but really, what would you do with them all? Indeed, how much do we really need to know about them anyway, when we can just make up our minds from the audience.. The second half is all about the music: again, two pas de deux followed by a solo. The first piece, Six Years Later, tells the story of a dysfunctional relationship. Starting with the Moonlight Sonata, the music moves to a pop tune - both accompanying unusual choreography, not all of which worked for me. Valse Triste follows -  a more conventional - and sombre - piece. Finishing off the evening is a solo by Osipova, who dances beautifully, in a simple, long, white dress, to Ave Maria (in German). Stunning.

Not everything was to everyone's taste, of course - but that's always the way, particularly with contemporary dance. Me, I loved most of it, thought it was beautiful - not the most groundbreaking I'd ever seen, but a lovely way to spend an evening. I do think the Ave Maria was my favourite. Runs till Sunday. Recommended.

We didn't stay long outside after - the weather is definitely turning cooler. But my walk home was downhill:

Sadly, I see that tonight's event from London Literary Walks has gone from the calendar - when I last looked, only one person had booked; I hope it wasn't a no-show! What a shame it had to clash with this, for me. Tomorrow, I'm back to Ireland for a long weekend. On Monday, Crick Crack is back.. again! Just as well I'm on the main club mailing list, as their Meetup group is ignoring this event. This time, it's Aye, Coyote! in Soho Theatre.

And on Tuesday, back with UITCS for Pinter at the Pinter.. Pinter plays at the Pinter Theatre! Our particular combination is One for the Road / New World Order / Ashes to Ashes / Mountain Language. I bought my ticket for this one from another member who couldn't go - Ticketmaster, so hopefully there won't be a problem with me picking up the ticket.