It is 30 years since London Children’s Ballet was founded by Lucille Briance. The stats are staggering: 20 choreographers and eleven composers have set their first full-length ballet for the company; 37,556 disadvantaged children and isolated elderly people have seen a LCB production for just £1 and this is just the start. Before making any sweeping assumptions, for a company that comprises children aged from nine to 16 years old, you might be fooled into thinking that this is an amateur troupe. Wrong! It’s one of the most professional productions you’re likely to see.
This year sees the third revival of Erico Montes’ The Secret Garden, based on Frances Hodgson Burnett’s famous novel, first published in 1911. Created in 2013, it tells the story of the orphaned Mary Lennox, who comes to live with her uncle and forms pivotal, life-changing friendships. It’s not necessary to know any more than that because Montes, who is currently Ballet Master at Ballet de L’Opera National du Capitole in Toulouse, has done a stellar job of translating the written word into a magical ballet.
For this revival Montes brought back his original rehearsal director, Gemma Pitchley-Gale, to meticulously coach the vast cast and bring the dancers up to a standard that any adult, professional company would be proud of. Apart from the dancers themselves, the whole production has been scrupulously conceived with attractive and functional set and costume designs (originally Neil Irish and Eva Le Blanc respectively) with additional creations for this revival by Carrie-Ann Stein.
Lighting designer Mark Jonathan has embellished all of this with atmospheric and sympathetic lighting so that the audience is in no doubt as to what time of day the action is taking place and in which season. In addition, Artem Vassiliev’s score does a good bit of storytelling itself as played by a live orchestra under the baton of Philip Hesketh.
The biggest revelation, however, came with the level of professionalism and accomplishment that these youngsters have achieved over several months. The ensemble numbers ran like a well-seasoned corps de ballet. The lines were straight, the feet were pointed, it was musically presented and even when there were sequences that ran in canon – no one put a foot wrong. Choreography was varied according to age and ability but it was nevertheless challenging and there were no remotely visible areas of weakness.
Equally important, was the evident commitment to the storytelling. Each dancer lived their own drama, made their own connections to fellow characters on stage. The results were pretty extraordinary because when you get that level of involvement, the audience cannot fail to become emotionally invested.
The first scene opens in the early 1900s in India and it’s Mary’s birthday party. Enter palace entertainers, notably 11 year old Yuno Sato who showed enormous potential both technically and in terms of the warmth of her personality. It would be difficult not to appreciate a winning performance from Giaime David Licheri Nuzzi as the Little Rajah too. Anna Carey as Mary’s Mother proved she has a commanding technique as well as a confident stage presence.
Once the action moved to England, there were more notable standouts. The Gardeners were adorable and hilarious in equal measure. Toby Gray as Ben Weatherstaff, the grumpy gardener, is en route to an Oscar nomination – all grouch but with a touch of charm. Wuthering Winds, Spring Winds, Roses, Petals and the sweetest butterflies imaginable (Grace Linehan, Grace Clarke Ogole, Jessie Tennant and Victoire Bertagna) delivered us to a garden of enchantment.
Ellie Henderson as The Robin showed real promise and once she was joined by Mrs Robin (Isla Smith) and the Baby Robins (Inès Cuirot-Smith, Kaiyah Campbell and Olive Yow), we were completely smitten and thinking of ways to smuggle out those babies in our handbags.
Among many soloist roles, the three main characters of Colin (Fredric de Almeida Whitehouse), Dickon (Joshua Moisey) and 12 year old Constance Rauly as Mary, gave very memorable performances indeed. Each of them undoubtedly has a bright future ahead but Rauly in particular, has it all to come. Endearingly persuasive and absolutely underneath the skin of her role, she also has great talent as a classical dancer.
The entire production was beguilingly engaging, an absolute triumph that far exceeded my expectations. It’s worth trying to catch this on tour if you cannot see it in London.
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