London Dance 2023 – Matthew Paluch looks back on a year of dance in the capital

Here’s another the-dance-world-according-to-one-person review of 2023 – because there aren’t enough of those, right?

Living in London I’m blessed beyond belief regarding what I get access to compared to other capital cities, and in this musing, I’m focusing on the positives and one, open-ended question.

As I’m aiming to keep things short in order to include as much as possible, some interludes will be sassy, short sentences or text reworked from existing reviews – gird your loins!

January was a strong, broad start to the year kicked off by Not Standing’s Through the Grapevine at the ever-relevant The Place. Alexander Vantournhout showed a duo borne through theory that developed into a riveting physicalisation. This trajectory doesn’t actualise very often, and was therefore greatly appreciated.  

Jules Cunningham continued their constant development with how did we get here? at Sadler’s Wells. The audience sat on the stage for the piece, and Cunningham with two fellow dancers (one being a former Spice Girl) took modern dance and choreography to new, experimental, sensitive heights.

Thick & Tight’s Tits and Teeth – a retrospective of a dazzling career at Shoreditch Town Hall was what you’d expect from the talented pair. I enjoy the obvious quirks and intelligence as much as everybody else. But if one steps back and analyses the choreographic rigour say for example in Cage & Paige, you realise the level T&T are working at.

The Ballet Icons Gala in February at the London Coliseum was a mixed bag as is often the case, but some highlights were absolutely savoured – Marianela Nuñez and William Bracewell in Petipa’s Coppélia were demi-character heaven, Bracewell returned later as Oberon in Ashton’s The Dream with Francesca Hayward’s lush Titania, with both speaking volumes about The Royal Ballet School’s system of training and The Royal Ballet’s repertoire heritage in practise. And Flames of Paris (Vassily Vainonen) with Evelina Godunova (Berlin State Ballet) and Julian MacKay (Bavarian State Ballet) was a total crowd pleaser begging the question about why MacKay’s San Francisco Ballet contract wasn’t renewed!

Back at The Place, Katherina Radeva’s 40/40 highlighted the importance of makers performing their own work: authenticity abounds. The same could be found at The Coronet (going from strength to strength as a dance venue) in Rihoko Sato’s Forest of Confession – a mystical experience.

April saw a trip to New York City where I observed three programmes by the New York City Ballet. Long story short – this is my Mecca. The ballets, the dancing, the way the theatre is an integral part of New Yorkers’ lives. I don’t believe it can currently be beaten… by a longshot.

Back in London, May offered Rachid Ouramdane’s Corps extrêmes at Sadler’s Wells where rock climbing, freefalling and extreme partnering created an evening of exhilarating unpredictability, and June saw English National Ballet take residence at the Royal Albert Hall for Wheeldon’s Cinderella. This was the second time I saw the narrative work and the experience was much more positive. The storytelling, dancing and visual components all adding to a very successful end result.

The annual Flamenco Festival (in July) at Sadler’s Wells was on fire this year, and specifically La Leona by Olga Pericet. Pericet stands out from the crowd with her individual, modern take on how flamenco can transcend its predictable, historical template, and her presence as a performer only strengthens her endeavours.

London quietens over the summer months, but this fact also allows for visitors. As geopolitics mean no Russian companies are currently touring west, the Australian Ballet returned to the Royal Opera House after a 35-year hiatus. Their new (ish) Director David Hallberg brought Balanchine’s Jewels for the occasion and a gala programme celebrating 60 years of the company. Overall it was a super successful visit. The company danced extremely well offering capability as well as an attractive freshness to all that they did. The second bill also allowed UK audiences to witness an excerpt of Pam Tanowitz’s epic work Watermark, or so this teaser suggests. Tanowitz taking things where others can only dream – an untouchable mix of form and seemingly random decision-making.  

Elsewhere, Emilyn Claid performed emilyn claid, UNTITLED at The Place. Claid is many things, but above all she’s genuine and wise. For me, this was a moment that will live way beyond 2023. It’s not often one gets to witness a performer with this level of honesty and grit.

Post summer the scene started quickly and with gusto. Matthew Bourne’s Romeo and Juliet at Sadler’s Wells reconfirmed that when he’s good he’s good, and La Cage aux Folles at Regent’s Park Open Air Theatre was a stonker of a farewell for the (soon to be) outgoing Artistic Director Timothy Sheader, and highlighted the choreographic prowess of Stephen Mear – again.

I’d also like to mention Cheuk Yin Mui who presented Diary VII: The Story of… as part of the Hong Kong Soul in London performances before their Edinburgh Festival residency. Mui is a very experienced artist, and it was an honour to witness her minimal, subtle movement supported by her overall design and use of shadow.

Alvin Ailey American Dance Theater brought four programmes to Sadler’s Wells in September and were greatly received. I saw the Contemporary Voices bill and was wowed by the level of dancing, as well as Kyle Abraham‘s modern, relevant movement style and the ongoing power of Ailey’s Revelations.

Considering I’m not a diehard Sting fan, Kate Prince’s Message In A Bottle at the Peacock Theatre (for Sadler’s Wells) in October took me by surprise. Prince has brought the omnipresent subject of immigration to the stage in an accessible way for all to engage with, and uses her contemporary/hip-hop hybrid language in an original manner to support this.

Overall, October was mad busy so here goes:

Sadler’s Wells showed Michael Keegan-Dolan’s MÁM with all of its Irish sense of community and Paganism, and Maud Le Pladec’s Twenty-seven perspectives which used the structure of Franz Schubert’s Unfinished Symphony, at times in harmony, at others in discord and juxtaposition.

The Yorke Dance Project screened their dance film of Kenneth MacMillan’s 1988 work Sea of Troubles in the Clore Studio at the Royal Opera House, with the brilliant collaboration reaffirming MacMillan’s narrative movement capabilities and Yolande Yorke Edgell’s (Artistic Director of YDP) innate sense of taste.

The Barbican hosted Pam Tanowitz for a week of shows of her 2022 work Song of Songs. In short, confirming Tanowitz as the most exciting choreographer creating today.

And one half of a double bill at The Place was very worthwhile: The Lion’s Den by Pocketart Collective. A rare moment where a conceptual work translates into a tangible dance piece. Amen.

And things didn’t slow down for November:

Northern Ballet presented Generations: Three Short Ballets in the Linbury Theatre at the Royal Opera House. And for me, it was the 1973 Adagio Hammerklavier by Hans Van Manen that stole the show rather than the two more recent works. Hammerklavier is Van Manen at his best IMHO: unrushed, pensive, articulate and with gravitas.

Ballet Black’s double bill Pioneers (also in the Linbury) included two strong works – Will Tuckett’s Then Or Now and Mthuthuzeli November’s Nina: By Whatever Means. I am a hardcore fan of Simone, so November’s piece had me from the outset, but Isabela Coracy’s performance as Simone was probably in my top three theatre moments in 2023. I should correct myself, as she didn’t perform… she channelled. Extraordinary.

I’d also like to highlight an aspect of the Young Associates Mixed Bill in the Lilian Baylis Studio at Sadler’s Wells. At the foot of the brae by Roseann & Sula of Tough Boys Dance Collective felt like a significant, new proposition on the dance scene, and to quote myself: “What’s interesting about their creativity isn’t necessarily the specificity of the content, but rather the context, intention and energy execution of the whole package. They offer clear thinking points: the dialogue between consent and force, play and aggression; and use pedestrian movement and develop it into intricate phrasing, but not in an obvious way, so consequently nothing feels forced, and the experience just unfolds in an intriguing, organic manner.”

December as we know is all about Nuts, and I was only lucky enough to see the one production: Wayne Eagling’s at English National Ballet. I’ve said enough about that already of late, so we’ll leave the festive month there.

So to my aforementioned open-ended question: Trajal Harrell. I saw his Porca Miseria at the Barbican in May and it was a confusing affair. A triptych that went on for a while, including film and a change of observer circumstance. I’m not in denial of the work involved, the exhaustive research, and the commitment from Harrell and his disciple-like dancers, but also – what the chuff was going on? I’d like to think I’m game for most things, but Porca Miseria felt a tad Emperor’s new clothes in my book, and as much as I love fashion, I’m wary when that crowd turns up in droves to the theatre. The word’s clearly out, and trends don’t necessarily equate to weighted work.

Anyone ready for 2024? Theatre will always keep surprising us, and I believe that’s why we keep going back, regardless of rising ticket prices and selfish, noisy fellow patrons. I’m also excited to read more of my peers’ opinions – specifically Lydia Wharf and Alexander Simpkins. Watch out for their musings as it’s going to be pertinent stuff methinks. 

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.

He is a member of the Dance Section of The Critics’ Circle.