National Youth Ballet: Echoes of Tomorrow

Sadler’s Wells, London
September 5, 2026

Echoes of Tomorrow was an evening that shone with optimism and hope, an evening when young people showed us a better world working together creatively in an atmosphere of respect and harmony to deliver a vibrant programme of dance. Behind the scenes, one can only imagine the beehive of energy as over one hundred dancers rehearsed for only nine days to bring together a programme of twelve works: eight new creations and four from National Youth Ballet’s repertoire.

From the repertoire came the charm and sweetness of The Red Balloon by Emily Jane Boyle featuring a little boy and his balloon as he navigates life with friends and foes. It gave the youngest dancers opportunities for story-telling and although the red balloon disappears with a bang, it spawns a mass of pastel-coloured balloons to continue the story.

Also from the rep, was the closing number Utopia. It has an intriguing opening, the dancers lying on the stage and a sound score of drenching rain. It then builds dramatically with opportunities for solo dancers before moving into powerful ensemble work as dancers fill the stage with fast, fluid energy. The choreography by Charlie Brittain is well structured with meaty chunks of movement and plenty of passion.

Of the new works, Plexus was very much of the moment, rooted in the importance of community. Choreographed by Monique Jonas with an excellent creative team: Asli Ozüak costumes, Andrew Ellis for inventive lighting, and a selection of mainly percussive music. The partnering was confident and attentive, with the dancers adapting well to the contemporary style. The choreography was skilfully structured as dancers shifted from individualism to the collective, self-assured and strong.

Throughout the evening the dancers showed their versatility as they displayed good ballet technique with several numbers showing proficient pointe work, while seamlessly switching to neoclassical and contemporary styles. There were a number of works based on themes of earth and climate, an important concern for the young. While the numbers varied in many ways the professional presentation and good rehearsal skills were seen in every number as was both the commitment and the love of dance.

An important short video after the interval gave the dancers a chance to speak up for the NYB. They had clearly enjoyed the sense of being part of a professionally run company and also the space for being themselves. They managed to dispel the raft of negativity sometimes attributed to Gen Z and any snowflakes would have instantly melted in the white heat of their passion for dance.

Two special awards were made: the Jill Tookey Award for Outstanding Young Performer going to Emily Licis and Zak Smith, and the Bronze Statuette for Outstanding Company Member to Lily Hawes and Verity Picken.

It is heartening to see how many dance schools, including the most prestigious, value teaching choreography highly and school shows make a feature of student choreography. While only a few will make choreography their career path, choreographers need dancers open to explore creative solutions when creating new works. The new works particularly seemed so well tailored to the young dancers, made to suit their talents and abilities. There were many moments when solo dancers got their opportunity to shine and make the work their own. And the talent is there. I am sure all of these young people, the NYB family, will make their creative mark in whatever field of life they choose. Artistic Director, Amelia O’Hara, has every reason to be proud of the performance and indeed the whole enterprise of National Youth Ballet.