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Ballet Nights returns with a varied programme that makes for a transportive evening.Summary
Rating
Excellent
The structure of a Ballet Nights programme feels something like reading a short story collection. Acts I and II both begin with music rather than dance, with pianist Viktor Erik Emanuel’s well-chosen pieces (Ravel’s Miroirs IV. Alborada Del Gracioso and Schumann’s Abegg Variations, Op.1) acting as an introduction to the night’s show.
We’re then given glimpses into wider narratives with excerpts from longer, classical ballets, before being thrown into completely different stories — and styles — from upcoming contemporary choreographers. Not only does this keep audiences engaged, never entirely sure what’s coming next, but it makes it unlikely that any viewer won’t find at least one performance to connect with throughout the evening.
On the contemporary side, standout performances come from Ballet Nights regulars Jordan James Bridge and duo James Pett and Travis Clausen-Knight. The former’s ‘And So the Rhythm Goes’ sees the dancer swaying between staccato and incredibly fluid movements, creating an almost posthuman effect and showcasing Bridge’s incredible upper body mobility. It’s often difficult to work out how he’s managing to create the shapes that he does, and the piece is near hypnotic as a result.
‘Nerve Wire’, from choreographic duo Pett|Clausen-Knight, makes innovative use of lighting, with a number of glowing poles lining the back of the stage. The tense, taut piece makes use of their strength both as individual dancers and as a pair, and although there are occasional moments where the synchronisation drops half a beat, the performance is nonetheless a captivating watch, and one that reiterates the skill and creativity of the two.
As the company’s first ‘mystery performer’, Guy Salim provides an electrifying tap performance, beginning with simple passages and working up to an absolutely frenetic pace that drew roars of appreciation from the audience. Without backing music, precision was key; all percussion comes from Salim and his shoes, and not once is a click or clap lost in the ether.
Similarly building in momentum is the programme itself, with The Royal Ballet’s Yasmine Naghdi and Reece Clarke concluding Act I with a stunning rendition of Asaf Messerer’s Spring Waters pas de deux. Compère Jamiel Devernay-Laurence informed the audience beforehand that the two are not partnered together at the company, something hard to imagine as the duo made their way through this and the Act II finale, Kenneth MacMillan’s balcony pas de deux from Romeo & Juliet.
The chemistry between the two is palpable, and their complete trust in one another as they perform lift after lift is incredible. As the headline act they’re certainly the stars of the show; it’s a delight and a privilege to watch them, but does slightly diminish the effect of some of the other dancers. Seeing such high-calibre talent so close up is a real treat, and takes the programme to a whole new level.
Devernay-Laurence is keen for Ballet Nights to be a celebration not only of the elite in the dance world but also a place to showcase emerging talent and allow choreographers and dancers alike to experiment with something new, whether that be a partnership or a piece. While this inevitably leads to a disparity in quality (a two-month partnership will be of a different level to an established professional), bringing together performers at different stages of their careers makes a point of the collaboration and camaraderie in the dance world, and provides an entertaining night out for those in the stalls.
Headlined by Royal Ballet principal dancers Yasmine Naghdi & Reece Clarke
Compèred by Ballet Nights producer Jamiel Devernay-Laurence.
Ballet Nights has now concluded its run at the Lanterns Studio Theatre. Find out more about Ballet Nights here.
