Sadler’s Wells Theatre, London.
13 September 2025.
If you had any expectations for the return of London City Ballet at Sadler’s Wells Theatre – raise them.
The first Act began with Haieff Divertimento choreographed by George Balanchine and presented for the first time in the UK by London City Ballet. The curtain opened on a classical stage – male dancers in white and black, standing opposite female partners in pale blue short-skirted leotards.
Introduced in the programme as ‘like a breath – a little jewel, fun, lovely, light and joyous – just wonderful dance!’ the strong, clean lines that sprang from the dancers from start to finish embodied this description. They maintained joyful expressions and a bright, fresh connection to the audience.
The choreography tended to showcase female dancers, followed by explosive virtuoso moments for the men. We saw attractive play with parallel and turned out lines, characteristic posés on pointe en fondu, and unusual moments including splayed and clawed fingers, and a repetitive développé motif. A dazzling display of batterie and energetic allegro for the men, followed by a contrasting slow and elegant adagio ‘Lullaby’ danced by Jimin Kim, showing beautiful, sustained fluidity and musicality.
Coming together to culminate the piece, the Finale was jaunty and quirky. Light, bright character-filled allegro, with sharp use of upper body lines. There were some fun unexpected moments, such as partner-supported pirouettes finishing on pointe in parallel on a fondu. Plenty of solo moments popped out in this gorgeously attractive opening number that hit all the highlights of the music perfectly.
Once I had seen the next piece, Consolations and Liebestraum, it was all I was thinking of for the rest of the performance. Choreographed by Liam Scarlett, the piece opened with a female dancer in a mid-length navy dress, her innocence and lightheartedness contrasting with the melancholic tones of the piano music of the same name, by Franz Liszt. Whether watching with prior knowledge of the explanatory programme notes or not, the triple pas de deux act had extraordinary power to touch the soul, enveloping the viewer into its emotional journey.
Deeply expressive work without explicit narrative, leaving interpretation and connection open to the viewer. Featuring Alina Cojocaru, former Royal Ballet principal, Consolations and Liebestraum unravelled three different stages in a relationship. The first couple young and innocent, the second more mature, cracks beginning to show but still with hope, and the third revolving around loss and grief, poignantly leaving the narrator dancer alone in a decreasing spotlight at the end.
So many beautiful moments; the female stood forlorn, coming to life as her partner swept in and their charming and playful relationship resumed. A gorgeous innovative display of unpredictable interactions, lifts and turns, performed with ease and lightness. The tender way they wrapped their arms around one another. This whole piece so intricate and intimate, excellent casting of dancers excelling in technical strength, but also in breadth of expression as well. Scarlett’s choreography also spoke great volumes rising and falling through the crescendos and lulls of Liszt’s piano score.
The performance was thoroughly entrancing and could have been watched several times over.
Soft Shore by Florent Melac completed the first act. Four dancers – Constance Devernay-Laurence, Alejandro Virelles, Arthur Wille and Joseph Taylor — danced to melodic strings, the third movement of Beethoven’s Razumovsky String Quartet. The piece unfolds, tracing the emotional landscapes of two couples. There is suggestion of crashing waves – the tension of unresolved dialogue in a relationship, and later, the calm following the storm, continuous circular movement evoking the rhythm of the tide.
The two duets on a dappled lighted stage floor broke each other up and took the spotlight to continue their own story. A continuously evolving emotional work; the audience were motionless as the four dancers offered such masterful artistic deliverance of some exceptional choreography.
It is unusual perhaps, for a production to dedicate so much time in a showcase to lengthy duets. But what an outstanding decision to do so here.
Moving into Act Two, which was dedicated to Pictures at an Exhibition by Alexei Ratmansky who created the work for New York City Ballet in 2014. Performed by 10 dancers, a picturesque and colourful backdrop – projections of Wassily Kandinsky’s Colour Study: Squares with Concentric Circles, changed and developed with the dance. An entirely different flavour right from the outset. Pictures at an Exhibition was lively and quirky. Constance Davernay-Laurence particularly stood out, unique with so much passionate energy.
Dancers sprang into action from both sides, each dancer taking a short solo turn to introduce themselves. They were very animated – a characterised piece with abundant interactions filling the stage.
Yet, much as I enjoyed the vivacious work, my heart remained with Act One. London City Ballet are currently mid-tour, moving on from London now, to France and Spain through September and October. A more than worthwhile, thought-provoking and enriching evening, I’m sure all their future audiences will be thrilled.
By Louise Ryrie of Dance Informa.
