It is always uplifting to see students performing with commitment and confidence: such was certainly the case at Central School of Ballet’s Summer Showcase at the jewel-like Britten Theatre. However, the reviewer’s life is made a lot less straightforward if there is no information in the programme other than lists of names unassociated with photos or even year groups, as was also the case here.
Fortunately, in the interval I managed to get help from the school’s social media and marketing manager, who kindly identified the year groups performing each piece, but I am, unfortunately, still unable to mention individual dancers; this is a shame as there were one or two who stood out.
The bulk of the programme was given over to the second years, who made a capable and well-rehearsed showing in Valse Fantasie, choreographed by Jann Esterhuizen for the girls, and Cinco Amigos, choreographed by Juan Rodriguez for five men. Both these (classical) pieces were perfectly suited to the talents and standards of the dancers, who showed a pleasing fluidity in their ports de bras.
In Swing, Swing, Swing, I felt the choreography could not match the rhythmic dynamism of the music, but the dancers’ enjoyment in performing it was evident and fun to watch. This piece, and Blushing, also for second years, had been created in collaboration with the dancers, led by Leanne King and Emily Powell respectively, and this kind of joint effort gives the youngsters an excellent insight into constructing a piece from the ground up. The second years also danced Derek Deane’s Czardas from Swan Lake; here there was a marked absence of genuine character style, something that perhaps is growing in schools pressed to devote significant time to contemporary work and acrobatic skills necessary to dance the work of many modern choreographers.
The first years, alongside third year student and soloist, Shiori Akimoto, made an impression in excerpts from Raymonda. Sensibly, the choreography had been modified to be within their capabilities – single tours en l'air instead of doubles, changements battus instead of entrechats six and so on. This is a good compromise as they learn the original work of a master choreographer and are able to perform it accurately.
Their contemporary work was also enjoyable, in City of Stars by Christopher Hinton-Lewis, The End of All Wanting is All I’ve Been Wanting by Katia Bourvis and Shoji, a particularly attractive piece by Kai Tomioka in collaboration with the students. Tomioka may have interesting prospects as a choreographer based on this piece, well crafted and flowing smoothly.
A quartet of third year women danced an extract from Coppélia staged by Adela Ramirez, and a larger group appeared in Night Flight v2.0 by Carolyn Bolton, a nicely made piece in which there were flashes of strong technique.
There is plenty of good work going on here. A little more feel for dynamics might be developed, with a more varied selection of pieces to display the young dancers, but the evening had been put together with professionalism and dedication, so plaudits are due to all involved. I must especially praise the wonderful Philip Feeney, Tabor Music Director, whose composition for Night Flight v2.0 was interesting and danceable.
