Entering its third successful season under the creative leadership of Artistic Director Christopher Marney, London City Ballet has been the winner of the Best Independent Company Award at the Critic’s Circle National Dance Awards for two consecutive years in both 2024 and 2025.
The company’s brand-new touring production, Firebird, is underway and continues for the rest of 2026, visiting venues in France, Spain, USA, and across the UK. London City Ballet’s gothic Firebird is a revival of Glen Tetley’s 1981 production – one of a number of anniversary celebrations this year, marking the American choreographer’s 100th year since his birth (b.1926 – 2007).
The touring mixed bill also includes, among others, Ghost Light – a new version of the 2020 creation by John Neumeier — and Mephisto Waltz by Ashley Page. Here, London City Ballet dancers Arthur Henderson and Ellie Young give us some insights to company life and the tour so far.
Joining the company
“I immediately felt super welcome in this smaller group of dancers; everyone is really close with each other,” Arthur Henderson says on joining the London City Ballet team this season. He is looking forward to the continuation of the exciting tour, with New York and Sadler’s Wells Theatre in London being anticipated highlights for him, as Sadler’s Wells is where his family will come to watch him dance.
“I felt that the company was getting a lot of attention and notability,” Henderson says of his decision to audition. “It was such a draw for me for there to be such a mix (of different dancers at different stages of their careers). There’s such a lot to take from younger dancers, as well as from more experienced dancers. After my audition, I remember being told I’d hear in about a week. But it was over a week, and I thought it wasn’t meant to be. Then I got the email, and I was very excited when I heard I’d got in! I’m getting plenty of opportunities, including chances to travel with some exciting repertoire.”
Ellie Young, who dances the title role of the Firebird, received a call from Director Christopher Marney asking if she’d like to return for the 2026 season (having not been able to be a part of the 2025 season due to a prior professional commitment).
“He told me he would like to revive Firebird, the lost ballet, to honour Tetley’s centenary,” she recalls. “I saw a filmed version of the ballet on YouTube from 1981, and loved the neoclassical style and ways Tetley found to morph the human body into one of a bird.”
The Firebird revival
“Chris has taken on the role on re-staging the ballet, bringing a fresh approach to a very beautiful version of Firebird,” says Young, referencing Tetley’s original choreography. “He told us that Tetley had just finished working with the Martha Graham company, which you can see had an influence on some of the movement he put in this ballet, so it’s a nice fusion. Obviously, I was very happy to say yes to rejoining the company for (what sounded to me) like the most exciting bill of works yet.”
Dancers were provided with archival videos of both studio and stage recordings, which formed a useful starting point as the work is continually being developed and adapted. “We’ve also been navigating the infamously tricky music (by Stravinsky),” Young reveals. “It’s a very beautiful piece but in parts, almost impossible to count!”
“Christopher Marney knows the ballet so well,” Henderson explains. “Before we started, he said this was going to be a collaborative process and he wanted us to be comfortable in what we were doing. I think he’s definitely achieved this; his guidance has been invaluable. It’s been more of a ‘Let’s create, let’s take time’ way than I have worked previously,”
Playing the Firebird
“I’m exploring ways of making my body look bird-like, without slipping into the familiar Swan Lake style we are so used to as ballet dancers,” Young explains. “Tetley’s choreography provides me with the flesh of it, but it’s up to me to make that read on my body. It’s usually small changes in how bent a leg is or the turn of a palm that makes all the difference.”
Young offers further intriguing insight to the detailed thought that has gone into each and every movement. “We recently spent time talking through the simple touch of a hand in the first meeting between the firebird and Ivan, because it needed to read the right way,” she shares. “We tried different ways of the palm facing and how that made a difference to Ivan’s intention, whether it looked as if it was their first touch, or one they’d made before. If it kept the firebird’s response animalistic, and how intensely it showed emotion.”
Young continues, “Chris explained to me that the position of the arms might come from the movement of my chest. And our rehearsal director, Kate, pointed out that I can use my ‘wings’ to brush against my own body to create a demure feel about the firebird in quiet moments. The Firebird, to me is the embodiment of femininity, the essence of a soul coming into her own body. Although she often dances with a partner, she is an independent figure, showing courage in moments when she protects Ivan from Kotschei (her father) by placing him behind her.”
Playing Kotescei, the Villain
Henderson is no newcomer to playing the villain and admitted to enjoying taking on those darker roles! Previously having played one of Carabosse’s escorts in The Sleeping Beauty and been part of Tybalt’s crew in Romeo and Juliet, Henderson felt that this role as the evil sorcerer Koteschei in Firebird was complimentary of his longer limbs, and extensions as a tall person, and has enjoyed drawing on past experiences to prepare.
“As the firebird’s father, I have a black cloak which I use a lot. I’m protective of the firebird and keeping her contained,” he says, painting an artistic picture of what we can expect to see on stage. “Chris has a strong understanding of Kotescei and guided me to give each movement an intention and to ask, ‘How do you think he would react?’ Halfway through, I transform into a bird myself. The costume is like a unitard with exposed muscles and tendons. You really see the evil in the character here, and I get to die on stage, too, which is really fun!”
How it’s going so far
Young paints a charming picture of life on tour so far with London City Ballet: “The tour is going very well. I have to say, this company of people is my favourite group I’ve ever worked with. Everyone makes the effort to go for dinner as a collective when we get to a new venue – sometimes meaning there’s a table about five metres long in the middle of a restaurant in a remote town in France!”
She adds, “It’s been so encouraging to arrive in places to perform to find it’s a sold-out house. I feel as though London City Ballet’s profile has grown so much from when I joined in its inaugural season, which isn’t an easy achievement in the performing arts in 2026.”
A whole host of reasons then to go and catch the Firebird Mixed Bill as she flies, hopefully to a theatre reasonably near to you!
For more information, visit londoncityballet.com/production/firebirdbill.
By Louise Ryrie of Dance Informa.
