Sadler’s Wells, London
April 10, 2025
English National Ballet returned to Sadler’s Wells with The Forsythe Programme, the latest in what has become a regular series of programmes featuring the choreographer’s broad catalogue of work.
Rearray (London Edition 2025) is Forsythe’s latest iteration of his 2011 work, originally created for Sylvie Guillem and also adapted for the Paris Opera Ballet.
in William Forsythe’s Rearray (London Edition 2025)
Photo ASH
It is now clichéd to start a dance in silence, using it in the name of being ‘cutting edge’ or ‘breaking boundaries.’ It’s actually rarely either, but Forsythe makes it work where so many cannot. This updated version of Rearray has just about the right amount of silent dancing to prevent the audience from squirming self-consciously and Forsythe also throws in a few witty blackouts to boot. The first one certainly fooled some in the audience as a disappointed groan was evident.
Sanguen Lee, Henry Dowden and Rentaro Nakaaki acquitted themselves admirably with seamless transitions between the works sections.
Photo ASH
Herman Schmerman was created for New York City Ballet and epitomises their élan and attack. English National Ballet’s dancers took its challenges in their stride. Whilst so many choreographers emphasise hyper-extensions and demand of dancers that they fling themselves around from floor to lifts, Forsythe never forgets that he is creating ballet. So, in Herman Schmerman (Quintet), while we do get work on multiple levels and hyper-extensions, we also get batterie in the shape of gargouillades, cabrioles and entrechats. Hooray! Forsythe also asks for, and gets, strong ports de bras. One could almost say they are pretty.
in Playlist (EP)
Photo ASH
Whilst I wouldn’t want to share a desert island with Forsythe based on this choice of music, he certainly creates choreography that’s fun. In the returning Playlist (EP), with music by Barry White, Natalie Cole and Khalid to name just a few, the dancers appeared to be enjoying themselves as much as the audience.
The ballet fair whizzes along but is simultaneously packed with contrasts. It’s quite a challenge to know where to focus at any given time as there is so much going on. Again, the company rose to the occasion admirably without fault.
Not everyone can carry off Forsythe because it’s about so much more than just steps. English National Ballet are perhaps more measured in their approach than some, but they have embodied the style fully. They looked back on great form.