James Kudelka's Book of Alleged Dances was disappointingly without depth, in my opinion. And as for Stephen Baynes's Personal Best , seen recently as part of the Olympic Arts Festival, I can't imagine why it will be given a second season next year when its structure and choreography are so monotonous. In the Upper Room . They are works that are relevant to the dancers' lives as contemporary artists living and working in 2000. Having that kind of repertoire also means that it's possible to make the older classics relevant.
Tastes change, body shapes change, techniques change, attitudes change.
The way to make the classics fresh is to have dancers who are out there, up there, real, who know that they are artists with something relevant to say through their dancing. What's more, it is perhaps not widely known that Stretton introduced a system of sending dancers overseas for study purposes that actually has them act as though they are part of the real world. There are no favours handed out. Dancers have to apply formally with a specific project, prepare a budget, compete for funds, and, if successful, be formally accountable on their return. Just like everyone else out here has to do.