Masterpiece in Motion – Review

credits to Bernie Ng
credits to Bernie Ng

Opening with an elegant backdrop of an English countryside, Masterpiece in Motion brought alive different eras of the bygone years. This year’s performances saw two new premieres by the company – Bournonville Divertissements by August Bournonville, Opus 25 and the word premiere of Midnight Waltzes by François Klaus.

For the first set, though the English countryside was a simple representation, the elegance of the dancers and very subtle flamenco feel brought forth a technically teasing opener for the rest of the night. At certain parts though, moves by the dancers were exceptionally broad, causing this piece to be jarringly awkward.

Transitioning into a ballroom for the Midnight Waltzes, the feel of the dancers in suits and soft silk dresses were reminiscent of Disney classics and definitely enhanced the entire choreography. In soft and fluid motions, the elevations and turns were visually stunning, although the story was somewhat murky and couldn’t be fully expressed.

The third set presented was Edwaard Liang’s Opus 25, a slightly more contemporary piece as compared to the previous two. With a large red cloth sweeping across the stage to reveal dancers in all white, the movement consist of fierce and strong moves as well as intricate movements and subtleties, making the entire performance impactful.

All in all, Masterpiece in Motion was a visual treat with technicalities on point, effortless lifts and some heart-warming emotions, as well as a spectacular ride through time, swerving its way through the English countryside to a 19th century ballroom and finally closing with a simple yet futuristic motion.