Cadogan Hall, London.
5 June 2025.
Cadogan Hall is an atmospheric building, transformed from a science church which opened in 1907, to a concert hall in 2004. Tonight, hazy smoke, purple back-lighting and chilled jazz music made for a sophisticated setting for the eighth chapter of Ballet Nights, an innovative gala evening. The opening ambience was spoiled a little unfortunately, by several latecomers needing to be led to seats by flashlight as the performance began.
I liked this production as soon as I read that a piano solo was to open the programme. It is not often a ballet or dance production places such equal reverence upon their musicians. And for that reason alone, as a musician myself, I was enchanted from the outset.
House pianist Viktor Erik Emanuel was backed by warm orange lighting as he began the romantic, lyrical solo piece by Chopin. With clear acoustics and a bright piano tone, Emanuel had a relaxed composure and approach to sustained pauses before diving passionately into crescendos. There wasn’t any dancing to this, but it could well be imagined.
The audience were welcomed to Ballet Nights 008 by Jamiel Devernay-Laurence. He’s an assured and knowledgeable compère and invited us to “go on a journey through modern masterpieces and brand-new discoveries.”
There was indeed a wide and varied programme, including two world premieres: La Oraciόn, powerfully danced by Denys Cherevychko and choreographed by Joaquin De Luz, which was about sharing hopes, fears and the contradictions of life; and I Married Myself by Christopher Wheeldon, extravagantly danced with hair and costume flowing by Constance Devernay-Laurence.
Having already stated an affinity for dance musicians, String Theory, performed by Leila Wright and Dominic Stokes, was an absolute delight. Composed by Stokes who played the violin piece on stage, and choreographed by Jordan James Bridge, the most appealing element of this duet was the equal status and developing relationship between dancer and musician. ‘The line between contemporary dance and contemporary music.’ They held a conversation throughout the piece — Wright on pointe on an initially dark and smoky stage, which brightened as violinist Stokes entered playing. Lots of eye contact, and satisfying use of pause, he moved around the stage as much as she did, Wright dancing after him a lot of the time. She then tied up her hair, the power seemed to shift to her, and he followed. A repetition of dance movements in the final few bars and Stokes encircled Wright as the music and lights faded. A very interesting and effective piece.
Ich bin der Welt abhanden gekommen – solo from Five Rϋckert Songs, was a work between Viktor Erik Emanuel on piano, soprano Hannah Diennes Williams and dancer Eve Mutso, who was central and barefoot in a long white dress. It was captivating, each excelling in their own art form, exuding a relaxed and emotive atmosphere on stage, building rapport and connection with the different sound and movement coming from each of them. A single footlight in an upstage corner lit Mutso as she moved towards it in a soft and compelling end.
The UK Premiere of Slingerland Duet by William Forsythe was performed by Sanguen Lee and Gareth Haw of English National Ballet. Described by English National Ballet as a choreographer who uniquely ‘combines classical technique with modern athleticism’, Forsythe’s Slingerland Duet was packed with fast and intricate partner work, incorporating some sublime counterbalance showcasing Lee’s glorious lines. The siren-like whine of the violin created suspension as they twined together, dressed in ivory and lit attractively by an overhead spotlight. A definite crowd-pleaser with a wonderfully sharp ending and blackout.
The String Quartet was a joy to watch. Again, another opportunity to engage entirely with the musicians creating magic on stage. The four dressed in black faced one another in a semi-circle and exuded such passion through their playing – the music visibly flowed through their bodies. Surely dancers and choreographers watching in the audience must have been creating in their heads whilst watching and listening.
And to end this evening’s Ballet Night’s gala, a winsome choice – the Balcony Pas de Deux from MacMillan’s Romeo and Juliet, which was also timely, The Royal Ballet having just finished its run of the classic ballet at the Royal Opera House. Without the infamous balcony and staircase this evening, the emotive music swept us in anyway, and Reece Clarke and Anna Rose O’Sullivan, with effortless finesse, still held the audience captive with an emotional rendition of the iconic choreography.
With plenty to personally digest on the journey home after tonight’s variety show, it was fun to overhear fellow traveller’s lively and positive responses to the evening.
Ballet Nights BN009 to be held 10 – 11 September, promises another adventurous programme of world-class dancers and sensational live music.
By Louise Ryrie of Dance Informa.
