The Royal Ballet School is, unquestionably, one of the world’s top ten best vocational ballet schools. As such, it has developed a broad curriculum enabling graduating dancers to offer themselves as versatile, fully-fledged performers to companies around the world. Alongside this lies an excellent choreographic programme that mentors and nurtures incipient talent, and helps young dancers to be, as Cathy Marston put it in a filmed interview, the best possible tool from a choreographer’s point of view.
Artistic Director Iain MacKay gave a charming introductory speech at the school’s appearance in the Linbury Theatre as part of the Next Generation Festival, his focus very much on the choreographic development work of the school. This is highly laudable, valuable and necessary, but as a centre of excellence of classical ballet there must also be an intense focus on technique; we know this is there because of the standard of the dancers who emerge, but it would have been nice to see evidence of it on this programme.
As I have frequently said, with young dancers curation of performances is key. You must not challenge them beyond their capabilities, but at the same time you must guard against presenting them in pieces that do not challenge them enough, and do not allow them to show their excellent skills. Someone, somewhere, seems to have missed that memo.
Of the 18 pieces presented, only five were by professional choreographers (plus one “arranged by” Mikaela Polley): the others were by students ranging from Year 8 White Lodgers to Upper School 2nd years. None of these was without merit, and plenty of hard work had been put into rehearsals. Everyone danced with commitment and I was struck by the mature stage confidence shown by even the youngest performers, certainly a sign of good things to come in the future.
I thought that Onda by Isaac Morgan (Year 11) showed a good range of movement, and Anima Mea by Upper School 2nd Year Millan De Benito (a prizewinner at the 2023 Prix de Lausanne) was very good, with choreography inspired by, and referencing, the well-chosen music. La Lutte by 2nd Year Layla Hotham was energetic and propulsive; so was Cazzimma by Anthony Cortese (2nd Year) who had clearly been influenced by William Forsythe’s In the Middle Somewhat Elevated. Infatuation by Kanoko Aoyama (Year 11) was sweetly charming, and well danced. Best of all among the student pieces was Alecsolis 334 by Fabrizzio Ulloa Cornejo (also a prizewinner at Lausanne in 2023). Choreographically Cornejo showed no fear; there were some beautifully shaped lifts, some vertiginous, some thrown, and I was impressed by how smoothly they were executed by the cast.
Of the professional choreographic work I greatly liked Sweet Morning Blossoms for the Upper School 1st Years, by the always-interesting Jessica Lang. This piece gave the young performers some real dancing to do, and they rose to the challenge with flair, particularly Maria Carolina Ferreira Gaspar, tasked with a solo slow penché à la Queen of the Wilis and never faltering.
The highlight of the programme was the closing piece, Culmination by the highly-talented Arielle Smith. At last the dancers were able to show what they could really do, immersing themselves in Smith’s fluid but complex style with its directional changes and subtle isolations, modern and lively but rooted in classical ballet. The joy of dance is something that Smith excels at conveying; here it was clear how much the performers were enjoying themselves, and they drew us in to their excitement and happiness.
There was no cast list, but thanks to gratefully-received assistance from RBS staff, I am able to name Wendel Vieira Teles Dos Santos as one to watch: he was a finalist at the 2023 Prix and I remember willing him on to win a prize. Tristan-Ian Massa led Culmination with immense style. De Benito and Cornejo are both excellent dancers, and I was glad to get a glimpse of Ptolemy Gidney in Culmination; he joined ABT Studio Company at the end of last year (and danced a thrilling Gopak in their showing during the Festival) but has returned to graduate from his alma mater. I noticed also the neat footwork and effervescent personality of Ivan Malaguti (2nd Year), and 1st Year Keenan Mentzos is definitely one to watch out for; I think he will have a bright future.
Overall, much to admire, but reminiscent of a multiple-course banquet that still leaves you reaching for the cheese and biscuits when you get home.
