Review: Lazgi - Dance of Soul and Love (London Coliseum)

Review by Sam Waite

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For as long as there has been performance, there has been dance. Telling stories through movement and mime, dancing has long allowed us to communicate complex emotions without the limitations of language or any barriers between nations. In this spirit, the Uzbekistan Art and Culture Development Foundation brought a ballet fuelled by history and heart to the London Coliseum, for this one-night engagement of Lazgi – Dance of Soul and Love.

Named for the traditional folk dance, originating in Uzbekistan’s Khorezm region, Lazgi combines homage to these traditional movements with more recognisable (to Western audiences) ballet techniques. The underlying narrative, while often very abstract, focuses on two leading ladies – named in the provided libretto as “Love” and “Soul”, and for a period uniting to form a third dancer. With a story passing through centuries of history, this is a celebratory piece exploring the ever-continuing journeys of love and of heritage, with scenes taking place in a desert oasis, a modern office, a museum, and beyond physical space itself.

Performed by the National Ballet of Uzbekistan, Raimondo Rebeck’s choreography is engaging and effective in its storytelling, clear in its emotional intent and the strength of the movement. Moments of longing, of sisterhood, of cultural reverence, come to light through the magnificent dancers’ portrayals – where the more abstract elements of the libretto do come across less clearly on stage, the intended emotions and sense of wonderment at the ever-present natures of both Love and Soul come through and the work is captivating enough that you find yourself willing to fill gaps with your own interpretation.

Particularly impressive work comes through the combined efforts of lighting designer Tim Waclawek and scenographer Yoko Seyama, in moments of what I could only describe as “curtain choreography.” Through projection and carefully-orchestrated movement, a thin, gauzy material becomes shifting sands and perhaps representative of the passing of time itself. One such moment opens the performance, sand dunes created by the fabric being placed across the company rise away to reveal a caravan of travellers who take in a mysterious and exhausted woman. Later, scene changes are covered by mighty sandstorms through the dynamic, surprisingly well-controlled movements of this same material, now hanging in front of the changing stage.

Scenography from Seyama is striking throughout, building from the desolate desert scene of the opening moments to a minimal but instantly recognisable museum, through to an abstract office space and eventually a striking, beautiful scene in which (artificial) candlelight fills the space. Seyama’s command of the stage is breathtaking, bringing a sense of grandeur worthy of the Coliseum’s stature and size to the work. Each of Lazgi’s four scenes is a visual splendour, distinct from what came before and is still to come, but a part of the same vivid, historically-driven universe.

Alongside exciting original compositions, David Jaconello also selects existing material to accompany the piece. A curtain-sandstorm overlaid with Marilyn Manson’s take on “Sweet Dreams (Are Made of This)” informs us that we have moved into a modern setting, and that the world has darkened in many ways but has maintained a sense of energy thanks to Love and Soul’s constant dance. With costumes from Frol Burimski helping to signify this passage of time, and creating attractive looks for each of the performers, the audiovisual elements of Lazgi would be an utter delight even without the bold, exciting choreography.

Attending the ballet can be an intimidating prospect for those of us who don’t often see such work, and its being combined visually, sonically, and culturally with a traditional dance we are even less familiar with certainly doesn’t help. But rest assured, Lazgi is not only easy to understand (as much as abstract plotting can be) but proved to be a strong entry point into both forms of dance. Blending what we anticipate from ballet with what it borrows from Uzbekistan’s history, Rebeck and conceptualiser Saida Mirziyoyeva have shaped something truly special, and genuinely unlike anything you are likely to see on a London stage.

Lazgi – Dance of Soul and Love played for one night only at the London Coliseum on September 14th

To keep up with the Uzbekistan Art and Culture Development Foundation’s future work visit https://londoncoliseum.org/whats-on/lazgi-dance-of-soul-and-love/