Jamiel Devernay-Laurence has a very infectious joie de vivre. He has a sense of mischief about him and an air of not taking himself too seriously. And yet what he has achieved is remarkable, having only recently retired from a career as a soloist with Scottish Ballet and doing something that could not have been done without the total commitment and drive of someone on a mission to produce a unique offering.
His Ballet Nights, which launched in 2021 as a one off, is back at the Lanterns Studio Theatre in the heart of London’s Docklands, this time for an autumn season. With three different programmes, two performances of each and a host of guests from various backgrounds, it has sparked a lot of interest. The approach is one of intimacy, of a relaxed evening of compèred performances in a setting reminiscent of, in his words, “Jazz Club meets stand-up gig using a variety show format”. This should not detract from the quality of the performances, which are of the highest calibre.
Devernay-Laurence has relentlessly pursued the idea of creating a platform for artists who wish to explore areas of performance that perhaps don’t fit with their usual agendas. Thus we have an array of interesting choreographers showing new or rarely seen work, a selection of neoclassical, classical and contemporary genres, some first class musicians in either solo performances or accompanying dance pieces, as well as some recorded music. The dancers and dances for each programme will change with the exception of The Royal Ballet’s tap-dancing Steven McRae who appears in all three (in the last one with a ‘surprise guest’). The pianist Viktor Erik Emanuel also opens each act, of every show, with solo performances – and at this first, his choice of pieces (Chopin’s Variation Brilliantes, Op.12, and later Ballade no. 2 in B minor by Liszt) and his ravishing rendition of them, was almost worth going to hear exclusively.
The Royal Ballet’s first soloist, Melissa Hamilton, opened with The Dying Swan, with Moira Hartley playing cello to Emanuel’s piano accompaniment. Hamilton was beautiful and, physically exquisite though she is, it’s not a piece that necessarily wows in any circumstances. Joseph Taylor and Julie Nunes from Northern Ballet followed with Gavin McCaig’s You Will Get Your Wants – a pas de deux with tension and a fabulous, surprise ending.
There were two pieces on the programme from Sir Kenneth MacMillan. First, an excerpt from Isadora, sensually performed by Amy Thake and Edd Mitton, both with the Yorke Dance Project: more from them, please. The closing excerpt was from MacMillan’s Concerto, one of the most beautiful pas de deux and becoming a regular on the gala circuit. Hamilton and Ryoichi Hirano, a stalwart Royal Ballet principal (who was celebrating his 40th birthday), made it look easy and both gave polished accounts with purity of line.
Constance Devernay-Laurence, the host’s wife, has bounced back from a serious injury (broken foot), and gave a stunning performance of the famous Gamzatti variation from La Bayadère. This was quickly followed by a new commission from Jordan James Bridge with music by Rival Consoles. This was breathtaking both in its innovation and interpretation by the choreographer. He has rubber for bones (that’s not official!) and an extraordinary movement quality.
New English Ballet Theatre gave a committed performance of Peter Leung’s All in Passing, a new work for the company. I am in total admiration for everything that Karen Pilkington-Miksa has done for NEBT and the dancing was exemplary. However, the motive within the choreography was ambiguous. Very lovely shapes, but too much aggression for no apparent reason.
Some words about McRae, who was arguably the most well-known of the evening's dancers. In closing the first half, and while he doesn’t need any kind of promotion, I feel an obligation to say that his own choreography brings about a thrilling transformation from supreme classical dancer to tap whizz, in the Czárdás. With Emanuel on the piano and Vasko Vassilev playing the violin, it was clear from the start that no one will ever be able to do it like he does, withstand thorough scrutiny and still shine.
This first 2023 edition of Ballet Nights was not without minor flaws. The sightlines were not perfect and the rumbling of the DLR was never far away, but this is a brave venture that deserves further support. It's still early days for Devernay-Laurence but he has much to offer and with an entrepreneurial spirit, he's on a positive trajectory.
