Sadler’s Wells, London.
10 June 2026.
“For 100 years, Rambert has been defined not by standing still, but by a constant readiness to evolve.”
Rambert’s Artistic Director Benoit Swan Pouffer said of this evening’s triple bill, This is Rambert, “It brings together three distinct voices in dance. For the centenary, I didn’t want to look back, I wanted to define who we are today.”
With that, we prepare to watch the first piece, In Crimson, collaboratively choreographed by Bobbi Jene Smith and Or Schraiber. An interesting opening stage is on view; a piano is set in front of the red curtain downstage left, a mirror and a lamp on top. On the opposite side of the stage is a chair, facing the piano and a male dancer sat still on it. As the lights dimmed, the pianist Yonatan Daskal walked across the stage and sat to begin his original composition. The sound of the piano was bright and clear, and after a moment, the male dancer stood and began to move, urgently, rhythmically, quite full of angst and emotion, whilst the music remained cool and methodical. Throughout the work I enjoyed the contrast of unique, innovative movement to the classical music.
In Crimson progressed with other dancers entering the stage from either side – the first leaning against the side observing, before diving in and joining a short dynamic duet. This system continued with a dancer leaving the stage as a new one entered to continue the central duet. They were quite rapid changeovers, plenty of play and humorous moments, and the dance was physical, dynamic and emotion-led through an unclear narrative, that wasn’t really necessary anyway. I loved the moment dancer Enrico Caruso smoothly climbed on top of the piano to sing “Mi Par D’udir Ancora” as continued accompaniment to the flowing dance.
Very watchable and well received.
After a brief break, the curtain lifted again on Hop(e) Storm choreographed by (LA)HORDE, whose aim was to “channel the rhythms, energy and spirit of Lindy Hop through a post-internet rave lens.”
Casually dressed dancers stood in vertical lines either side of the stage facing one another. They advanced and retreated not unlike a chess board to begin with, though their advancements quickly escalated to leaping on, flooring and tussling with their opponent! The metallic-sounding score had a roar-like quality to it, and the stage was bleakly lit. This section continued for quite some time, until the lindy hop beat crept into the music and a very simplistic repeat section began with dancers clapping and moving round one another in a line.
The beat intensified and so did the speed of their movement, focusing on footwork and collective movement. Whilst slickly rehearsed, it felt as though dancer’s skills could have been utilised further. However, this was an incredibly popular number with the audience this evening!
After the interval, the third work of the triple bill had an interesting narrative. The Gallery of Consequence by Emma Evelein, opened with a continually rolling and updating airport departures board projected on to the backdrop. “Every gate tells a story, and every departure marks a choice.”
A solo male traveller with a pull-along case began centrally, with the stage quickly filling with other passengers, all holding or pulling cases of some kind. The dance movement was filled with isolations, almost robotic at times. It built and became more chaotic; there were some fun moments with dancers exaggerated mime-acting to an American voiceover. The departures board glitched, and words such as ‘scared, alone, help, departed, missing, cancelled,’ flickered across it.
A very quirky, energetic number, that melted into a lyrical male/female duet – presumably at their departure gate. Other couples and individuals did the same at intervals throughout this disjointed but visually interesting piece. It was such an interesting idea that could have been even stronger with a bit more context and stronger narrative.
Standing out this evening in the Gallery of Consequence was eye-catching dancer Dylan Tedaldi with a very expressive and musical presence throughout the evening. His solo closed the final piece and the centenary celebrations this evening, fading to blackout within a wide spotlight.
By Louise Ryrie of Dance Informa.
