Itâs been over a decade since I first saw Chroma and in all that time, its colours, the sheer power and athleticism of the choreography and Joby Talbotâs pulsating, electronic score havenât dimmed a jot in my mind.
When I first saw the piece, it was presented by the Royal Ballet, who commissioned it in 2006 and with whom it had its premiere, in the cavernous space of the Royal Opera House. There was something quite epic about seeing this piece there, the vast stage seemingly shrinking with the force of the dance.
To get this review off the ground, and to fully grasp the impact of this ballet, we must start by understanding what Wayne McGregor, the choreographer of Chroma, was aiming for, for Chroma is much more than just a ballet about colours. Its title is deceptively simple. Its core essence, however, runs deeper, revealing themes that are both intensely personal and universally applicable. It is about exploring how we define ourselves. Who we are within ourselves and who we allow others to perceive us as, whether that is a fleeting relationship in the context of the ballet or how we present ourselves to the world at large.
A stark, minimal set and ingenious use of lighting by Lucy Carter add a layer of drama to Chromaâs message. What really hits home, though, is the dynamic tension generated by the choreography. There is a deliberate tension woven throughout Chroma; that subtle push-pull, or what is termed in dance âcontrasting dynamicsâ.
In the first piece, **âPolyphonyâ**, for example, there is a clear sense of this from the get-go. The choreography explores this juxtaposition of energy. Itâs beautifully illustrated when the dancers appear in rows of vibrant colour across the stage. With every ripple of movement, this deliberate layering of colours is heightened. The impact of the colour contrasts, however, are short-lived and a moment later there is a shift from that very visible energy and dynamic. Then we are presented with almost a stillness as they fall into âneutralâ. Their bodies begin to melt in slow, languorous shapes across the floor. It is during this "neutral" that we witness an exploration of body language.
We observe McGregorâs expert use of his dancers in **"Polyphonyâ**. Itâs clear how well they have mastered his technical language, which for many audiences in 2006 and today is both unique and challenging to observe. The bodies, when they arenât moving in an athletic burst of speed, create very unique shapes. In some respects, this fluidity gives an almost meditative feel, an air of stillness as the movement seems to ebb and flow, an ongoing cycle. In that slow, liquid way, they almost feel like sculptures.
A further sense of a juxtaposition between a rapidly paced sequence and one that is almost meditative, can be seen in **"Entrâacteâ**. At times we are witness to moments of vulnerability, while at other times the speed, the vigour, and force of the dancers, create an overwhelming physical impact on us.
This contrasts sharply with the almost delicate feel that can be found in **"Epilogueâ.** This dance unfolds in a beautiful harmony between dancers as individuals and a group. Again, in an elegant move on the part of the choreographer, there is a shift in direction and dynamics. This culminates with a heart-wrenching finale as the company slowly withdraws from view, almost a sense of drifting into a hazy world of memories, where what we have seen may remain just a mere whisper of a dance.
But before we get carried away with that, letâs pause and consider **"Fracturedâ.** What really makes "Fracturedâ stand out in this ballet, aside from its sheer visceral beauty, is the focus it gives to how the dancers are working, that sense of unity between individuals. And it is that collaborative energy and a physical commitment from every dancer that truly catches the eye in this dance.
A large company, 28 to be precise, all move in perfect unison. Itâs their complete commitment, a shared goal that helps to unify the "Fracturedâ group in this powerful and dynamic piece. There is an element of unpredictability with "Fracturedâ as there is throughout the entirety of the ballet. At every turn, there is something that makes the spectator pause and take notice of a new element within the choreography.
For the Royal Ballet, the ballet marked a distinct turning point in its repertory, bringing it into the 21st century with all its bravado, while simultaneously pushing the companyâs creative and physical boundaries.
When **Chroma** first appeared, McGregor was, at that point, at the height of his powers. The dance was, for the Royal Ballet and the audiences that saw it, a truly remarkable feat. With **Chroma**, McGregor had brought a contemporary art form to the dance stage.
The dancers who worked with him embraced this new vocabulary and, through their performances, gave **Chroma** life. The music too played an integral part.
For **Chroma,** McGregor chose a composer of the 21st century. Joby Talbot is known for his groundbreaking orchestral music, music that blurs genres and in many ways complements the overall feel of **Chroma.**
He wanted his score to be a sound world which embodied, as he stated, "a constant pulsation" and he succeeds on this front by creating a deeply personal, moving, electronic-driven work, full of both dark and powerful elements. Whatâs really interesting about Talbotâs music is how the electronic textures weave between acoustic strings and piano. Talbotâs soundtrack complements the choreographic sequences to great effect, sometimes pushing the dancers on in their bursts of kinetic energy while at other times creating moments of delicate beauty. The music underscores each mood and tempo, as though the score is part of the story.
As a dancer who watched this work come together, and performed it during its early years, the choreography was incredibly challenging physically. From an emotional perspective, I feel it also pushed each and every dancer involved in the creative process to explore deeper within themselves.
As a performer, it also had an impact on me; the constant physicality; the need for complete dedication, focus and stamina; it left me utterly exhausted. The stamina it demands from the dancers as a performance vehicle, the fast paced choreography coupled with the complex movements make this piece highly physically demanding, a real test of physical ability.
When I watch **Chroma**, it continues to astound me as to how those on stage can endure the sheer intensity, the strength required of each and every movement that McGregor has included within the work.
In its conception, the power and athleticism of the work gave the audience a visual impact of this highly successful collaboration between McGregor and Talbot. Their dance and music was born in the year that marked the bicentenary of the birth of the most acclaimed choreographer of his age - Auguste Vestris - whose achievements continue to astound today. But with **Chroma**, we entered the 21st century. In this case, contemporary art on a monumental stage became the driving force.
Over the years, I have seen countless performances of **Chroma**, by different companies around the globe, from the Bolshoi Ballet in Moscow, the Royal Ballet in London, to American Ballet Theatre in New York, and every time I see it, it never fails to impress.
I find that its simple structure gives it an extraordinary resonance, something that endures on every stage and appeals to audiences on many levels.
There is a unique blend of raw energy, a bold technical language coupled with athleticism, that continues to excite and draw audiences back again and again.
Here are just some of the highlights that make Chroma a truly outstanding piece of art:
- The dynamic interplay of contrasting movements: Chroma moves with fluidity from slow, flowing sequences to sharp, almost acrobatic bursts of energy.
- The unique choreography: The combination of bold shapes, angular positions and fluidity makes the piece quite distinctive and eye-catching.
- The use of vibrant colour : In âPolyphonyâ, this is a clear statement, as the company is seen standing as vibrant colourful lines, against the stageâs darkness, each and every movement and shape a clear statement of this.
- The masterful use of lighting : The lighting of the work plays a central role, creating contrast, both literally and metaphorically. Carter's lighting enhances the workâs dynamism and dramatic impact.
- The exceptional athleticism of the dancers: They appear, almost effortlessly, to rise above gravity with their every move and leap. Each and every step a testament to McGregor's distinct physical language, one that requires strength and resilience, from the dancers who have performed it over the years.
- Joby Talbot's stunning music: Talbotâs score blends seamlessly with McGregorâs dance sequences, further enhancing the mood of the work.
- The overall impact on the audience : As a spectator, it feels like **Chroma** has an effect on every person who watches it. Some have described the piece as exhilarating, dynamic, or powerful, while others, as reflective and contemplative. **Chroma** continues to be a masterpiece of 21st century choreography, for dancers, the audiences that come to see the ballet, and for those who watch it on the big screen or through online streaming.
While I know there have been a number of strong critics who have offered differing viewpoints of **Chroma,** my view has always remained the same - it continues to have that strong visual appeal. The work is bold and distinctive. Its dance language is unique and pushes the boundaries of ballet. **Chroma**, despite being 15 years old, still stands the test of time.
It stands apart from its contemporaries, for the way in which it blends these key ingredients of 21st-century music, dance, and performance. I would suggest to all aspiring dancers who wish to work in the contemporary field, itâs worth seeing for its innovation, for its influence, and for how it helped to shape a new generation of dance.