Fearless and theatrical: Tulsa Ballet visit Bonn for the first time

Tulsa Ballet has only toured internationally six times in their 70 year history. This year, they wrapped up a brief visit to Italy and Germany in Bonn, the lucky city to host two performances of From Ballet to Broadway. Perhaps the coincidence with The Royal Ballet’s current programme of a similar name is just that, as the offering here is quite different, but nonetheless it’s an exuberant and high quality showing which audiences responded to enthusiastically.

The evening starts with tutus and pointe shoes and gradually evolves into a musical theatre finale. I found the former to be more successful but with each concise work under 25 minutes, it’s also an engaging display with a company who knows how to hold your attention.

Classical Symphony is a lively opener for seven pairs which sees traditional steps danced explosively with flashes of contemporary influence. Yuri Possokhov’s creation is demanding, but performed with polish and finesse here. The golden tutus denote Spring, Sandra Woodall’s curious designs see just a single circle of netting for the skirt, accentuating the light, bright jumps and jetés.

It’s a captivating start, with Aubin Le Marchand and Aina Oki taking centre stage in the pas de deux. The latter has a beautifully relaxed upper body, she rolls through her back and shoulders luxuriously while her fast feet handle the intricacies of the footwork with ease. Principal Le Marchand has a marked stage presence, his colossal jumps and clear charisma setting him apart.

The unrelenting physicality of Possokhov’s choreography is only apparent in the brief still moments where we can see the dancers breathe. Then they’re off again, breezing along to the familiar Prokofiev score with power and control, their smiles never fading.

Divenire translates from Italian as “to become (something/someone)”. The programme talks about themes of energy and reflection but for all intents and purposes it’s a plotless work, yet holds wide appeal, danced to music from Ludovico Einaudi, which you will definitely recognise upon hearing. Nicolo Fonte’s choreography is lyrical contemporary, danced with wonderful, sleek fluidity by the group of twelve. It features much synchronised movement in meshy ankle length skirts (for the men and women).The quality of movement in this ensemble is evident; big and expansive poses with stretched limbs, lifts that float ethereally. It’s a deeply balletic work at its heart and even as the momentum builds and the score swells these dancers have a crystalline elegance that never falters.

Remember Our Song concludes proceedings, indeed the title of the programme would not work without it. With choreography from Andy Blankenbuehler, who won a Tony award for his work on Hamilton, Remember Our Song feels like a mini musical, with a score containing dialogue and upbeat tunes, including Louis Prima’s Sing, Sing, Sing …

This short vignette features seven soldiers who are part of a submarine crew facing impending death as they dream of their loved ones. On reading such a synopsis I was not expecting such an upbeat finale but that's what we got. It also gives us an excuse to see these talented dancers cut loose and showcase their theatrical qualities, which I found to be already clear from the first two pieces.

Teague Applegate and Giulia Canavese are our central couple, and we have to allow for a few clichés here because he is every inch the suave man back from the front line, while she wears a sensible floral print dress and headband. They have a magnetic connection but the broadway style steps feel too “proper” for ballet dancers. The women wear low heeled shoes for the piece but everything feels a bit too upright and pristine. The steps are danced too neatly, but their faces are expressive and this does a great deal to take us through the snappy narrative.

Tulsa Ballet had never performed in Germany before these two nights in Bonn and they brought a confidence and panache rarely seen. Their dancers are not only skilled technicians but storytellers. This sharp programme is highly accessible, it’s moving at times, but above all the company is entirely uplifting and joyful.