Three reviews of Sylvie Guillem in "6,000 miles away."The Telegraph
Is it a great work? Not exactly. But she certainly makes it seem so, and in fairness all credit to Ek for having created a piece (set to Beethoven’s suitably capricious Piano Sonata Op 111) that allows her to shine so particularly brightly.
Though it’s a personal show, the first half borders on alienating. We first see Guillem in Forsythe’s Rearray, a stop-start duet that takes classical steps apart and wonders whether to put them back together. Blackouts slice the material into short chunks. Guillem and Massimo Murru will take a crisp academic pose then wriggle their way out of it, bump through little knee bends, stroll on and off. The performance style is cool – in both senses – and withdrawn.
If Guillem’s formidable technique and capacity for challenge are shown off to their best advantage in Rearray, Swedish choreographer Mats Ek allows the dancer to demonstrate her sometimes-overlooked talent for character work in Bye. Guillem appears first as an oversized, sepia-tinted eye peering out at the audience from a white box at the back of the stage. Video projection and cleverly timed choreography conjure up the illusion that this is a door to Guillem’s memories, or a magical Looking-Glass world somewhere offstage that contains friends, family and even a dog.