Rambert: Draw From Within – Sadler’s Wells, London (LAST CHANCE TO SEE)

A review of Draw From Within, a work by Rambert at Sadler’s Wells. What in the world have I just seen?

Draw From Within

I am back at Sadler’s Wells! Only a couple of weeks after the ENB’s Reunion, this time I came to see Draw From Within by dance company Rambert. I had a particular interest in seeing work by Rambert because of the connection with choreographer Michael Clark. I saw an exhibition on his work at the Barbican last year. Rambert are known for staging cutting-edge contemporary dance works, and Draw From Within does not disappoint.

This is a work that you could easily describe as disturbing. Intense. Also amusing at times. But the adjective I would choose is ‘mad’. So mad in fact that by the time it finished, I couldn’t recall what the beginning was like. For me there was a watershed moment involving the birth of a child (not unlike Damien in The Omen), and everything before that moment became a blur. A very unusual experience indeed!

The Rambert performance seemed to have a fuller audience than the ENB the other week. I’m not sure if that’s the nature of the company or performance. Or maybe just people becoming a little more comfortable to venture out. But it was the first time in all my post-lockdown outings that I have had to ask to change seats. I would have expected better mask-wearing adherence from the audience of Sadler’s Wells. In the end my view was not quite as good but my concentration was much better being away from the crowds a little.

What Was It Actually About, Then?

Well, like Reunion, this is a staged version of a work originally designed to be filmed. The choreographer is Wim Vandekeybus, and he worked with Rambert on a live-streamed performance which aired last September. It begins simply enough, but with some foreshadowing of what is to come. Two figures try out their dance moves, before one reads a poem by Ted Hughes. Then there is a lot of business with smoke and flame which is quite transfixing (I had to look all this up to remind myself as it had all been wiped from my memory by what follows). The set is simple but very effective. There are movable sections of wall which the company utilise at various points, metal panels hanging down one side of the stage, and big paper sheets across the back. It feels both comfortable and uneasy, just like the performance itself.

Some of the techniques used by the dancers were interesting and very effective. I particularly liked a section where they had wires and wrist straps and were sweeping across the stage, hemming in and releasing one of the characters. There was a lot of mirroring, particularly as the action descended into a sort of cult-like situation, which added psychological drama. The dancers are very adept – I particularly liked the interplay between a couple which starts out light and breezy before closing in and becoming more sinister.

The music was also wonderful. Draw From Within plays out over several pieces of music, but they join together almost seamlessly. The acoustics in Sadler’s Wells are amazing – during one song I was looking for the singer on or around the stage. I think it was what another review called a Balkan song, but I’ve never heard anything like it. The plucking strings as the dancers swept by on their own wires was also incredibly effective.

So I think I recommend this, but prepare yourselves. There are only a couple more performances at Sadler’s Wells but Draw From Within is also going on a short UK tour.

Salterton Arts Review’s Rating: 3.5/5

Draw From Within on until 5 June 2021