[Review] Pett|Clausen-Knight’s IMAGO – it’s a rollercoaster of an experience

Ballet Nights strikes again! But is it actually ballet?

The answer is no. It’s definitely contemporary dance, and specifically IMAGO by choreographic duo James Pett and Travis Clausen-Knight, with original music by Sean Pett interwoven with Max Richter and Vivaldi.

The psychoanalytic meaning of imago is “an unconscious idealised mental image of someone… which influences a person’s behaviour”, and this understanding doesn’t fall too far from the available blurb on the work: “interaction, conflict, denial, acceptance… personal identification amidst a nuanced narrative”. And we’re also promised flowers, their hidden meanings and capability to disguise, using beauty as a facade for honest communication.

It all feels quite monumental before anything’s even happened… and I can confirm it’s a rollercoaster of an experience.

I’m a tad discombobulated, as it’s not very often that a work can take me from almost laughing (at, not with) to thinking I’m about to cry (in the good way).

First and foremost, Pett and Clausen-Knight are extremely talented performers, and worthy of having stage time and an audience to partake in their work.

IMAGO has equally strong and weak moments, and asks important questions about where, and how the duo should focus their future developmental endeavours.

I often felt the work was in limbo – too focused on narrative intention, so lacking choreographic purpose; or too movement focused, so emotional impact couldn’t fight through the saturated phrasing. I believe there’s a happy medium… or perhaps go extreme so it’s more obvious what’s meant to be happening. Otherwise, the overarching feeling is one of being lost.

There were some issues with the production. The lighting capability at The Lanterns Studio Theatre isn’t great and many sections felt too dark… if an overhead rig is an option, I’d get one ASAP. The work also features white, multipurpose pillars, which can impede good sightlines, and flowers. Flowers are difficult post-Pina, but Frida Kahlo via Cousin Itt isn’t the way to compete. I get the agenda, but it’s not the right direction.

The positives of the Pett / Clausen-Knight language are articulation and expression. Throughout, both dancers show beautifully, articulated work, with the whole body, but most keenly with the hands and fingers. I was impressed twofold expression-wise – their movement phrasing includes clear, 2D style form reminiscent of Kurt Jooss, and both artists have an understated, internal delivery of expression that ends up being far more powerful than obvious displays.

The last 10 minutes of the work were when things really came together. The penultimate duo showed Pett in a predicament – Clausen-Knight seemed not to see him and remained immovable. This in turn caused Pett to communicate anxiety, insecurity, and desperation. He kept returning for recognition which wasn’t reciprocated. Each time losing strength and crumbling to the floor.

And the final duo, performed to live music by Sean Pett and Adriana Cristea (why only one section?) seemed to discuss equilibrium, connection, and love. The pair covered space, forged togetherness and did so with the aforementioned understated expression, which truly suggests the day to day reality of a positive, complex, loving relationship. Nothing performative, rather something honest and true.

They’ve recently been nominated as Best Independent Company in the National Dance Awards, so clearly there’s a buzz about their work. I can understand why, as moments of execution were absolutely mastery, however aspects of content and production – intention, structuring and realisation – still need ongoing analysis. It sounds a bit zeitgeist, but I wonder if a dramaturg could help things…

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.