Ballet Nights is an ambitious dance project that began two and a half years ago and was the brainchild of founder, Jamiel Devernay-Laurence. It offers taster menus of established world ballet stars, young talents and emerging artists and puts them on stage together for an exclusive one or two night run. Following modest beginnings at Lanterns Studio Theatre in 2023, Ballet Nights has since toured internationally, including as far as Brisbane, Australia and will embark on a UK tour later in the year.
Decadance, as the name suggests, celebrates the tenth programme in this series and this one night only offering delivered an enjoyable mix of star power and future prospects. To my mind, many of the contemporary numbers were quite similar and it was the classical showings that stirred up more excitement, and the explosive Diana and Acteon closer that fared the best, more of which later.
Amongst the darkly lit, mournful modern numbers was a welcome showing from the students of Central School of Ballet, who brought some theatrical glitz and glamour with an excerpt from Leonard Bernstein's On the Town. The ladies were wonderfully poised in their silky gowns, they dealt expertly with the exposing stage and were neat and well placed dancing in their pointe shoes. With highly cohesive choreography from Ashley Page it was a bright and engaging number that lifted the first act. Similarly successful were Chrysanthi Nicolaou and Django Bates-Blower from Rambert School in a moody self choreographed number, Atlas, full of tight chest pulses and flexed feet. These are two cool kids in their vests and ankle socks, Nicolaou slipped easily into each lift and pose, the pair both musical with elastic limbs.
There was a moving showing from Northern Ballet pair Alessandra Bramante and Joseph Taylor, the latter now with London City Ballet. Out of Breath is a work that will connect with many, around the pressures faced through daily life, remembering to breathe, a promise that we will endure. It’s danced with great sensitivity and softness by these two artists, whose own breaths we’re able to see and feel in the extended pauses. A highlight of the evening.
The one world premiere of the night was sadly a disappointment. AE from Pett/Clausen-Knight, was performed by Isabelle Evans and Travis Clausen-Knight and it explores the very contemporary topic of how one can prove they are human. The choreography was dense and hard to engage with, the dingy lighting, at times leaving the dancers in near darkness didn’t help.
There were some wow moments too, with a dreamy opener from Royal Ballet rising stars Harris Bell and Sae Maeda. Moszkowski Waltz is a beautifully delicate and feminine pas de deux for this graceful pair, a real life couple who dance with a knowing confidence together. Maeda’s technique is so clean and crisp, with a pristine line. Harris is similarly neat in technique and strong in the demanding lifts that see her fly high above his shoulders. They are a charming couple, this opening number exudes warmth and quality.
Act 1 closed with Les Ballets de Monte-Carlo’s Lou Beyne and Jaat Benoot in Jean-Christophe Maillot’s Dov'è la luna (Where is the moon?), a gently powerful neo-classical number, the choreography offering plenty of opportunity to admire their elegant lines against the sombre score of Alexander Scriabin.
I am a newcomer to Robert Cohan’s Lacrymosa, which explores what happens when someone you love returns after time away and has come back changed. Performed by Edd Mitton and Amy Thake from Yorke Dance Project, there were moments heavy with emotion, through the uncertain touches and looks they share.
Elsewhere, Royal Ballet soloist, Joshua Junker was a magnetic watch, dancing with strength and control in his self choreographed solo 324A. Seen before at Ballet Nights it was created during lockdown and broods with a need for freedom after confinement.
Matthew Ball will be the most familiar name on the bill to UK audiences, so it was curious to see him hidden away in Act 2. The Measure of Things sees him creatively demonstrate the multiple uses of a measuring stick with all his signature musicality and flair. Self choreographed, his prop is used as anything from a broom, to a mike stand, a guitar and a sword. Danced charismatically to a rousing Beethoven score, unfortunately however he too frequently reminded me of a cheerleader with a baton, and as entertaining as it was, I couldn't help but feel he could have been put to better use.
And finally then, to that firecracker of a finale. Petipa’s Diana and Acteon is of course standard ballet gala fare but the intriguing pair of Laura Rodríguez and Gael Ventura certainly made their mark. Now with Ballet de Monterray, Rodríguez is a former star of Acosta Danza, she possesses one of the most glorious extensions I’ve ever seen and with such height on every développé, I was hypnotised. Gael Ventura, performing for the first time in London, presented her well and came alive in his solo with explosive leaps and tight and compact tours.
For those yet to experience Ballet Nights, Deverney-Laurence also acts as our capable compère. The background and insight into the chosen performances is a nice touch into making the evening more accessible, and, as has become tradition, house concert pianist Viktor Erik Emanuel opened the evening, this time with Debussy’s Clair de Lune. Act 2 saw music from Dominic Stokes with an excerpt from Paul Hindemith’s Viola Sonata, Op.25, the racing strings and fizzing rhythms certainly kept everyone alert.
Ballet Nights has established an impressive ability to attract big names not only from the UK but internationally. With each programme offering audiences a unique opportunity, these evenings now feel like an event on the ballet calendar. Whether classical or modern, there will be something for you to savour.
