Review: Ballet Nights 008: Spring into Summer, Cadogan Hall

Any night spent watching some of ballet’s greatest rising and shining stars is a night well spent. The eighth instalment of Ballet Nights is no exception, with the now repeat venue of Cadogan Hall bringing an elevated level of class to proceedings.

Beginning the show with a musical piece, in this case Chopin’s ‘Ballade No.4 in F Minor’, is a nice nod to the overtures of ‘big’ ballet performances and sets the tone for the rest of the evening – refinement, skill and, as compère Jamiel Devernay Laurence described the opening number, full of “absolute bangers”.

Care has been given to the order of programming, classical pieces juxtaposed with new works and different styles. This ensures that the pieces don’t blend into one another, each given space to be appreciated in its own right.

A few of the pieces at this edition of Ballet Nights play with the idea of interactions between musicians and dancers, the two elements coming into conversation with and playing off each other. This is particularly engaging in the second piece of the night, ‘String Theory’, where Leila Wright floats across the stage with a fluidity in stark contrast to the first performance – ‘Dutiful Ducks’, a sharp, short and incredibly precise piece from Harris Beattie. Reacting to and being directed by the compositions of Dominic Stokes, Wright occasionally looks borderline inhuman in her sinuous movements, something exaggerated by the overhead lighting.

Ekleido make a welcome return to the Ballet Nights stage with ‘SPLICE’, an excerpt of which was performed at an earlier edition of the show. The duo’s intricate, interlocking movements as they present a human representation of a digital puzzle are mesmeric, blurring the line between dance and contortion. Trance-like music and a gentle strobe lighting effect make the whole affair hypnotic.

Also keen to perform slightly mind-boggling choreography are Martina Piacentino and Alfonso López González in ‘Nemesis’, which sees the pair almost meld into one being as they fold over and under each other. This piece takes a while to settle into, the comically overexaggerated facial expressions a little distracting at first, but the dark tinge of its humour quickly becomes compelling – as do the complex figurations the two dancers manage to get in and out of.

Also of note is Quartet Concrète, who welcome the audience to Act 2 with stunning renditions of ‘Intermezzo’ and ‘Shine No More’, gorgeous and complex pieces executed flawlessly.

Constance Devernay-Laurence’s appearance in ‘I Married Myself’ is a highlight of the evening, the chance to see some of Christopher Wheeldon’s latest choreography (created for the recent series Êtoile) live on stage an absolute joy. Her performance is followed by Anna Rose O’Sullivan and Reece Clarke in the balcony pas de deux from Romeo & Juliet. Clarke is incredible as ever, lifting O’Sullivan with, apparently, no effort at all; and the latter is impossible to look away from, her movements capturing the innocence and excitement of youth as she flies across the stage. It’s a wonderful way to end the evening, and leaves the audience walking on air as they leave the building.

Over the last few years Ballet Nights has grown to become a major player in the dance space, giving established and upcoming choreographers and dancers a place to showcase their work. Long may it continue.

Compère: Jamiel Devernay Laurence
Dancers: Harris Beattie, Leila Wright, Eve Mutso, Martina Piacentino, Alfonso López González, Sangeun Lee, Gareth Haw, Denys Cherevychko, Hannah Ekholm, Faye Stoesser, Constance Devernay-Laurence, Anna Rose O’Sullivan, Reece Clarke
Musicians: Viktor Erik Emanuel, Quartet Concrète, Dominic Stokes

This performance is now finished. You can find out more about Ballet Nights on their website.