Review: Wayne McGregor’s Deepstaria – failing to keep monotony at bay
Matthew Paluch sees Wayne McGregor’s Deepstaria but finds little choreographic value, except for two strong moments – one powerfully sensitive – in a sea of sameness.
| Title | Deepstaria |
| Company | Company Wayne McGregor |
| Venue | Sadler’s Wells, London |
| Date | 27 February 2025 |
| Reviewer | Matthew Paluch |
Company Wayne McGregor returns to Sadler’s Wells with its latest work, Deepstaria. This is the London premiere after the piece debuted in France in June 2024, and the house was full of pre-show anticipation.
The work of the dancers can’t be questioned, and the piece has the usual, extremely high level of production values expected from this company but I didn’t find anything of great value in the choreographic content.
This isn’t helped by the sound design provided by Nicolas Becker, LEXX and Bronze AI. What we (supposedly) hear is a “sonic dreamscape that is continuously recomposed and performed by [a] revolutionary digital audio engine”. In reality, it’s a bizarre concoction of sounds ranging from machinery innards to alien-like squeals and electric currents.
As there’s no obvious rhythm or phrasing – apart from in two short sections – it quickly blends into one, as does the movement done alongside it with no evident relation.
The piece doesn’t have any recognisable structure – it rolls along rather than builds. I’m not proposing that evident crescendo is a prerequisite, but it can help keep monotony at bay.
Two strong moments stick out for all the right reasons. The first is a group section that sees the dancers work on clear diagonal journeys to rhythmical music. The movement has directional purpose and elements of interesting language. Jumps propel forwards with intention and abandon, and the patterning of the dancers moving in canon and clear, spatial relationships, is absolutely of value.
The second is a male duet with an adagio feel. The music isn’t structured per se but has an otherworldly sense that connects with the movement quality. The two men feel like they’re actually dancing together, using spherical shapes and pathways to enhance the physical and emotional connection. It’s a powerfully sensitive moment in a sea of sameness, but it doesn’t last for long before slipping into familiar disconnectedness.
Deepstaria is the name of an ‘enigmatic species of jellyfish’, so of course we see the almost obligatory jellyfish handography. Sure, it’s atmospheric, but I’ve seen it done better recently elsewhere.
McGregor has had his company for 32 years, which is an accomplishment in the current arts climate. However, I don’t feel that Deepstaria suggests evident development. I’ve seen the undulations and leg splays before and, if honest, I don’t find them interesting, no matter how well they’re executed. McGregor has an interest in science and tech, so the use of Vantablack technology and Bronze AI make sense. There’s something harrowing about light being swallowed by the Vantablack tech, but the AI situation I could do without. And isn’t AI also the mother of all unsustainable technologies? Just saying. I hope the dancers aren’t the next facet to be replaced…
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.
He is a member of the Dance Section of The Critics’ Circle.
