Sadler’s Wells, London
September 12, 2024
London City Ballet are back! After an interregnum of nearly thirty years, the company has been resurrected. Under artistic director, Christopher Marney, they have mounted an ambitious programme of short, lesser known and new pieces, appropriately titled Resurgence, and embarked on a nationwide tour.
The highlight of the company’s inaugural programme is undoubtedly Kenneth MacMillan’s Ballade. Created in 1972 for a one-off performance in Portugal, it’s laid dormant ever since. But, a dance for a woman and three suitors, it’s an absolute joy. Guest dancer Alina Cojocaru, taking over the central role for the Sadler’s Wells performances, danced with intense feeling and charm. Ballade is certain worthy of a regular place in the classical repertoire.
On the programme for Sadler’s Wells only, and also by MacMillan, is the pas de deux from Concerto. Here, and in Ashley Page’s Larina Waltz, which opens the programme, while the dancing was of good quality, it lacked drama, personality and a sense of emotion. It struggled to reach beyond the footlights, in the way that is essential if the company is to engage and retain its audience.
Photo ASH
Away from Ballade and Larina Waltz, Resurgence is an evening of minimal staging and costumes, productions relying on lighting effects by Andy Murrell, and various permutations of the leotard. While minimalist can be effective, an evening of it becomes a little disengaging. Perhaps that’s one reason why Arielle Smith’s Five Dances, to difficult music by John Adams, felt over long. Eve, by Marney himself, a new look at the Genesis story, felt like it should be compelling but never quite got there.
There has been much expectation surrounding London City Ballet’s come-back. On this evening’s evidence, it’s a solid rather than an outstanding start. It will be interesting to see what Marney pulls out of his hat next, he reportedly has several ‘lost’ ballets he would like to bring back, but I suspect they will have to up their game if they are to compete successfully in what is a very crowded dance arena.
Read David Mead’s review of London City Ballet in Resurgence, seen in Cheltenham Spa, here.
Read David Mead’s interview with London City Ballet artistic director Christopher Marney here.