Peacock Theatre, London
July 4, 2024
As it celebrates its 30th birthday, London Children’s Ballet reached into their back catalogue for their annual Peacock Theatre performances, reviving one of their most popular productions, The Secret Garden, based on the classic novel by Frances Hodgson Burnett.
This year marks the 100th anniversary of the author’s death, her tale telling of young Mary Lennox, who is repatriated to England from India following her mother’s succumbing to cholera, to live with her uncle, Mr Craven. Her curiosity getting the better of her, she discovers and reveals the mystery of the Secret Garden, bringing it back to life, for the better of all in the house, not least her newly discovered cousin, Colin.
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Forget any preconceptions you might have about ‘children’s ballet.’ The company and its young dancers are fabulous. As always, The Secret Garden is a stunningly professional show with high production values throughout. And a super evening’s entertainment.
London Children’s Ballet is committed to producing a full-length narrative ballet each year, performed by children aged 9 to 16. But the company also provides valuable opportunities for choreographers, giving many a first chance to create a whole evening work.
Erico Montes’ choreography, revived by Gemma Pitchley-Gale, ballet mistress on the original 2013 production (there was also a 2007 version with choreography by Christine Sundt), plays to the dancers’ abilities and strengths with characters drawn precisely. The tale is complex, shifting from Colonial India to Victorian Yorkshire, but is told tightly and clearly. The programme notes, which set out the work’s 19 scenes, are excellent, but not essential to work out what is happening. Always a good sign. Indeed, the whole printed programme, complete with dancer photos and mini biographies is excellent.
Montes’ choreography is neatly attuned to the not inconsiderable skills of the young dancers. The ballet provides lots of opportunities for ensemble dance, although its best moments come in solos, duets and small group numbers. There are excellent individual performances wherever you look.
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In the lead role of Mary, 12-year-old Constance Rauly is rarely off stage but never flags. She initially shows us a slightly sour but more than anything unhappy Mary, a girl who feels out of place in India and who struggles to make friends. But she’s also determined and strong-willed, as we, and her uncle’s staff, find out when she arrives in Yorkshire.
Elsewhere, Toby Gray (age 13) has great fun with the character of the beard-stroking, head gardener, Ben Weatherstaff. His staff of spade-wielding male gardeners are a joy too.
Alice Herbert (15) is super as the very prim, poker-faced housekeeper, Mrs Medlock, although even she mellows at the end, her starchiness melting away in a duet with Ben.
Blondine Ploquin (13) is good value as the kindly maid, Martha, as is Joshua Moisey (13) as Dickon, her brother. Frederic de Almeida Whitehouse (13) is a cherubic Colin, Montes’ choreography for him when he gets out of his wheelchair cleverly balletic while still retaining and showing elements of his disability.
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Providing a slightly spiritual element, the Robin is beautifully represented by Ellie Henderson (14). If you’ve ever watched a robin hopping around the garden, you’ll spot immediately the connection in the movement. The group of small robins that appear near the end are also quite delightful.
A special mention too for Yuno Sato, aged just 11, who oozed presence and excellent technique in her solo as the Palace Entertainer in India.
The ensemble does sterling service as attendants, maids, butterflies, roses and petals. It’s always fun to try and spot future soloists and two dancers caught the eye in particular. Butterfly, Grace Clarke Ogole (11) and maid, Dilara Malik (12) both danced beautifully but also had that very special quality: presence. I look forward to seeing more of them next year.
The designs are excellent, Carrie-Ann Stein having reworking Neil Irish’s original sets and costumes. A double staircase does excellent quadruple service in the garden in India, in Mr Craven’s austere, candlelit mansion and the that house’s gardens.
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The descriptive original score composed by Artem Vassiliev for Sundt’s ballet was reprised by the orchestra under the direction of Philip Hesketh.
In its 30 years, London Children’s Ballet has created 16 original narrative productions with new music and choreography. Impressive is just how many former dancers can now be found in major companies, including Anna Rose O’Sullivan at The Royal Ballet and James Streeter at English National Ballet. Other notable alumni include choreographers Jenna Lee and Arielle Smith, whose Five Dances is about the premiere with London City Ballet, and who is also co-choreographing a new Nutcracker for ENB with Aaron S. Watkin.
It was good to see a sprinkling of Royal Ballet principals in the audience including Steven McRae and Lauren Cuthbertson, who made a short speech and appeal for funds at the end of the interval. And such funding is important if London Children’s Ballet are to continue their good work, which includes a large outreach and touring programme that takes specially tailored 30-minute performances to residential care homes, hospices, day centres and Special Educational Needs schools. Each season, the company also gives away 2,000 tickets to primary schools in London’s most disadvantaged communities and to charities for the disabled and elderly. Long may its good work continue.