An interesting observation about Jamiel Devernay-Laurence’s Ballet Nights performances is that he really takes on board comments and criticisms and acts on them. Thus this ever-evolving venture continues to garner more interest and gather momentum. It’s good that he is willing to take risks even if they don’t always work, because it’s another lesson well learned.
Nine months after its official launch, this was the best yet. Even a cancellation from Royal Ballet Principals Mayari Magri and Matthew Ball in his new choreography (Re)current, due to injury, did not dent the quality of the performances. Indeed, initially disappointed, their replacements gave one of the most exquisite performances I have ever seen. More of them later.
As per previous iterations (excepting the Ministry of Sound), the start of both halves begins with company pianist Viktor Erik Emanuel playing the piano, first Verdi Rigoletto: Paraphrase de Concert by Franz Liszt and then Ondine from Maurice Ravel’s Gaspard de la nuit. Ballet Nights is lucky to have him as part of the fabric as he is an accomplished pianist who completely transports the listener.
Minju Kang, promoted this week to Junior Soloist with English National Ballet danced two solos. In the first half, Giselle’s famous Act 1 variation from Mary Skeaping’s production and in the second half, a specially commissioned solo, After a Dream, choreographed by fellow ENB dancer Rentaro Nakaaki. She danced both well and with the requisite emotional input. Kang has all the qualities of a ballerina who can dance and act, look ethereal and/or earthy. She deserves many new opportunities next season.
Eve Mutso, a former ballerina with Scottish Ballet, gave an intensely moving performance of a solo from Peter Darrell’s Five Rückert Songs by Gustav Mahler. Ich bin der Welt abhanden gekommen is infused with melancholy. Accompanied by mezzo soprano Dana Mays and Emanuel on the piano, Mutso took us on a heartfelt journey. It was good to see her dancing again and perhaps even more poignantly, in a work by Darrell.
Nicholas Shoesmith’s Insomnia was reimagined for three dancers. Originally choreographed for Felicity Chadwick, it was very memorable as a solo but with two extra dancers, Sophie Quay and Iván Meriono Gaspar, it was even more impressive.
One was repeated from the Ministry of Sound, by Kennedy Junior Muntanga accompanied on the drums by the extraordinary Guy Salim. The drumming alone commanded respect and adulation. Combine it with Muntanga and you have a compelling number.
Jealousy by James Cousins is a piece of arresting choreography. I missed much of it at the Ministry of Sound, but in this venue, I thought it should have been set further back. It’s intimate and sensual. I wrote the word ‘knickers’ in my notebook – too much underwear on display in close proximity. Fantastic dancers, Brenda Lee Grech and Tom Davis Dunn (he is so strong) but uncomfortable watching.
Another astute programming decision was to bring Rambert’s students to show Set Fast by Grace O’Brien (second year student). Devernay-Laurence had spotted this piece in a choreographic display a few weeks prior to these performances and invited her and her cast to perform. Not only did it give the excellent students a platform, but O’Brien is a bit of a discovery. The most striking aspect of Set Fast was her obvious talent for working with a big cast and using them to develop patterns and create eye-catching movements. It’s possible she has drawn inspiration from choreographers such as Sharon Eyal, who also makes a dramatic impact with her utilisation of ensemble. Whatever her sources and processes were, O’Brien is definitely one to watch.
There were mystery guests in the form of a Cocktail Duet with real cocktails in the mix. An unusual piece of choreography but slightly random...
The undoubted stars of the evening, Sangeun Lee and Gareth Haw from English National Ballet, were due to perform Terra | Astra by Jordan James Bridge in the second half, but in the absence of Magri and Ball, we were treated to the Act 2 pas de deux from Swan Lake as well. Generally, it doesn’t wow when taken out of context, but this was a breathtaking rendition. She, a fearful creature of the utmost fragility, whilst he was a man desperate not break her. The results, as near perfect as you could wish for.
In Terra | Astra the pair were transformed, clad in shimmering, dark unitards (Sara Mackenzie) they ate up the stage with a breadth of movement that was dynamic and awe-inspiring.
Devernay-Laurence was his usual, amiable self as compère and one can only say, roll on to the next Ballet Nights.
