As an artist, you sometimes have to make your own career. For dancers this is particularly difficult, so showcases like Ballet Nights, providing a platform for new choreographers and emerging dancers to show their work alongside established stars, is a huge achievement on the part of Artistic Director Jamiel Devernay-Laurence and his team. Now in its sixth iteration after five previous shows at the Lanterns Studio Theatre in East London (and an appearance at the Ministry of Sound), the show moves to the much bigger (and more central) Cadogan Hall in Chelsea, and the fact it was sold out is testament to the increasing interest in this laudable initiative.
Devernay-Laurence curates a balanced programme of the “something for everyone” variety; thus we are not subjected to an endless stream of dark, angst-ridden pieces but a programme of diverse pieces from Petipa to work by Rambert students. We were also treated to lovely interpretations of Chopin’s gorgeous Ballade No. 1 in G Minor and part of Gaspard de la Nuit by Ravel played by Viktor Erik Emanuel, Ballet Nights’ House Concert Pianist.
Two solos for star female dancers, September in the Rain for Constance Deverney-Laurence and Introducing Joy, bringing ex-Bolshoi dancer Joy Womack to London for the first time, were pleasurable in their strong, technically luminous performances, but neither Jordan James Bridge nor Constant Vigier respectively provided particularly dynamic choreography for them to dance, a shame as both dancers have powerful personalities that could have been better shown.
I thoroughly enjoyed Tanzt, choreographed by Pett/Clausen-Knight and danced by James Pett with Rebecca Bassett-Graham of Company Wayne McGregor. Dressed in suits, they layered seamlessly-managed complicated partnering and entwinings with faultless lines and dramatic intensity. We were told that The Four Seasons “Summer”, choreographed and danced by Sarah Jane Taylor and James Wilton, would depict the behaviour of atoms before The Big Bang; this concept was not discernible in the choreography, which also seemed somewhat disconnected from the music, but there is work here of potentially significant interest, with, again, dramatic intensity applied to complicated, often acrobatic, double work.
English National Ballet was represented by a flawless account of the Act 2 pas de deux from Derek Deane's Swan Lake by Sangeun Lee and Gareth Haw. These two have established themselves as stars in ENB’s firmament, with their beautiful lines, strong technique and lustrous artistry. Also from ENB, Julia Conway and Eric Snyder danced Cha Cha and Tiara by Rentaro Nakaaki, who is himself a fine young dancer but has a terrific future as a choreographer should he decide to pursue that path. This piece, humorous and quirky but beautifully crafted, was very well danced, especially by Snyder who has an innate good taste and feel for comedy. Nakaaki also designed the entirely appropriate pinstripe waistcoats and trousers the dancers wear.
In an exciting first visit to the UK for Nashville Ballet from Tennessee, two principals, Sarah Pierce and James Lankford, danced Leto, a pas de deux by their artistic director, Nick Mullikin. Both dancers are highly skilled and presented the work well, and I hope this foray into international touring will widen awareness of Nashville Ballet.
Steven McRae, dressed in a kilt and sleeveless vest, danced his self-choreographed Fortitudine, to music by the Scottish Fiddle Orchestra featuring the charismatic Charlie Siem. McRae, a major star of the Royal Ballet, is always a big draw, and the audience clearly loved his cheeky interpretation and skilful footwork.
I have left my two favourite pieces until last. It is hard to believe that Set Fast, choreographed (by Grace O’Brien) is created and danced by students of the Rambert school. So cleanly, professionally and artistically was it performed that the piece had the feel of a stalwart of a major company’s repertoire, and the insightful structure and craftsmanship had the skill of a much more experienced choreographer. Watch out for O’Brien, and this cast of youngsters.
Devernay-Laurence himself choreographed a fascinating exploration of Rudyard Kipling’s If, danced by the superb Alexander Fadayiro to an exhilarating reading of the great poem by Jonzi D. A work of true creativity, Fadayiro’s beautiful, meaningful dancing melded with Jonzi D’s expressive voice to produce an immersive artistic piece that had everything to say about the human condition. I definitely want to see this again!
Devernay-Laurence acts as our cabaret-style host, introducing each piece with a relaxed but informative synopsis. This contributes to the intimate feeling of the event, which is part of the point: to draw in new audiences, engage them and get them coming back. I heard several people speaking ecstatically about the show as we left the theatre. The format is clever and successful; ever more ambitious projects are, I believe, in the pipeline.
