Review: Ballet Nights 005 New Futures – eclectic and proficient with top-level dancing
Matthew Paluch sees Ballet Nights 005/New Futures: “The space was busy and buzzy, the programme eclectic and proficient, and some top-level dancing was on show.”
| Title | New Futures |
| Company | Ballet Nights |
| Venue | The Lanterns Studio Theatre |
| Date | 28 June 2024 |
| Reviewer | Matthew Paluch |
Ballet Nights returns with 005/New Futures to The Lanterns Studio Theatre, leaving the Ministry of Sound behind but bringing some of the programme they performed there for New Voices on May 31st.
I’ll aim not to repeat myself concerning already seen works, but the evening includes plenty of other divertissement to get one’s teeth into. Disclaimer: one of the big sells didn’t come to fruition due to injury – the Royal Ballet’s principal dancers Mayara Magri and Matthew Ball in (Re)Current choreographed by Ball. The replacement is the real deal though… so more below.
The decision to open with a musical piece is an intelligent one. It sets the mood and the Liszt’s Rigoletto Paraphrase de Concert performed by Viktor Erik Emanuel took the evening in the right direction.
Solos from full-length works aren’t an easy sell, especially something like Giselle. So considering all of this, Minju Kang of English National Ballet did good work with the Act 1 solo from Mary Skeaping’s production. Kang is a very easy dancer and rode through any slight blips with subtle confidence. Moving forwards I think her characterisation needs to find a little more innocence at this point in the ballet.
Following was a modern solo by Peter Darrell to Gustav Mahler, not seen since 1979. Ich bin der Welt abhanden gekommen (I am lost to the world), the final solo from Five Rückert Songs is a good vehicle for experienced dancer Eve Mutso. Mutso created a character and world that existed far beyond the stage and choreography, and being supported by mezzo soprano Dana Mays and pianist Viktor Erik Emanuel made the overall experience even more poignant.
I saw INSOMNIA in its original, solo incarnation back in May, and feel it works better in The Lanterns and as a trio. All three dancers, Sophie Quay, Felicity Chadwick and Iván Merino Gaspar, brought major commitment to the performance, but I still find the work a tad literal in communication with clunky phrasing.
The lack of (Re)Current saw the first half close with the White Swan Pas de Deux performed by English National Ballet’s Sangeun Lee & Gareth Haw. The pair have just finished their shows at the Royal Albert Hall, so we’re seeing important dancers in the absolute depths of the roles, and it’s quite something to comprehend.
Haw is a romantic, elegant presence on stage and an impeccable partner, and together they bring a rarely-seen realness to 19th-century ballet. Lee is exquisite. Every single detail is there, and then some. Her port de bras is genuinely emotive, bringing the swan element of the woman to the forefront. She also tells the story through her eyes, communicating fear and trepidation each time she’s getting too close to the unknown stranger, and if you’re a bunhead like me, the physical interpretation can’t be denied. Every pose beyond the toe, developpé tastefully overcrossed at the cou de pied level, and a use of cambre that currently feels unparalleled on the London dance scene. Thank god she left Dresden and came here. MEGA work.
The second half opened with another solo from Viktor Erik Emanuel: Ravel’s Ondine, the first movement from Gaspard De La Nuit. Emanuel is an obvious talent, and manages to make all of his playing a trance-like experience.
A new work followed by English National Ballet’s Rentaro Nakaaki. After A Dream performed by Minju Kang is a contemporary dance drama piece that shows Nakaaki’s emotional sensitivity and Kang’s dramatic prowess. Nakaaki has a gift for fluid phrasing punctuated with precision, so I’m wondering what’s next already.
Both ONE (choreographed and performed by Kennedy Junior Muntanga with live percussionist Guy Salim) and Jealousy (by James Cousins, danced by Brenda Lee Grech and Tom David Dunn) were performed in May at the Ministry of Sound event, and both come off better at The Lanterns. ONE benefitted from a larger stage allowing Muntanga to cover space in a more purposeful way, and Grech brought an elevated, powerful presence through her determined eye focus to Jealousy, however the demanding partnering transitions still lack flow, which is not a direct comment on Dunn’s apparent skill – they’re just hard.
The ‘BALLET NIGHTS MYSTERY PERFORMER’ turned out to be SET FAST, a piece by Grace O’Brien, a 2nd year student from Rambert School. Jamiel Devernay-Laurence, the Ballet Nights Artistic Director, had seen the work at the school’s choreographic platform and wanted to showcase it at BNs 5. A shrewd move. O’Brien is a choreographer beyond her years demonstrating astute skill in original language, use of space and structuring. The cast totally understood her language of specified simplicity and repetition, and its commitment to the work took it to even higher levels. This piece wouldn’t look out of place on the main stage at Sadler’s Wells. Impressive.
Closing the night was a premiere by Jordan James Bridge created on Sangeun Lee & Gareth Haw: TERRA | ASTRA. The overall impact was beautiful and safe. I’m glad Bridge opened the piece with a solo for Haw, allowing him to show his exquisite proportions, abundant dynamic and finite detail in movement. Lee looked ravishing (well they both did) in the designs by Sara Mackenzie – black, sparkling, iridescent, rubbery bodysuits, and the Hans Zimmer score, arranged and played by Viktor Erik Emanuel added to the overall occasion. But considering what Lee and Haw are capable of, and what they’ve been exposed to as dancers to date, the choreography didn’t offer enough. Highly skilled and well executed? Absolutely. But it didn’t feel new… more tried and tested I’d say. I’m not a maker, yet I know I’m looking for more and that it (hypothetically) exists: where is it…
Ballet Nights 5 is the moment when everything came together for me. The space was busy and buzzy, the programme eclectic and proficient, and some top-level dancing was on show. Bravo to all involved. The West End and Islington intelligentsia need to get down to the Docklands ASAP before they miss the Ballet Nights boat.
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.
