Yorke Dance Project: Modern Milestones

Linbury Theatre, Royal Ballet & Opera, London
January 20, 2026

Yorke Dance Project performances are always greatly anticipated and Modern Milestones does not disappoint. The programme comprises of four short works and, after the interval, one longer new piece by Christopher Bruce. While the last was the undoubted highlight of the evening, the other 4-pieces were all excellent in presentation and execution.

Martha Graham’s solo, Deep Song, was first performed in December 1937 as a response to the Spanish Civil War, but has lost none of its resonance and is still deeply moving today. Danced to perfection by Amy Thake, wearing the original costume design by Graham, with appropriate restaging by Shelia Forbes, it set a very high bar for the rest of the evening.

Following Deep Song, the London premier of CAST [X], choreographed by Yorke Dance Project associate artist Liam Francis, was excellently danced by Carina Howard, Eileih Muir, Harry Wilson and the choreographer himself. Set to a minimalist vocal score by Jethro Cooke, it reflects accusations and conflict. Francis’ experimental combination of hip hop and contemporary dance styles works surprisingly well, producing a powerful and technically demanding piece. The dancers added emotional context, resulting in strong, engaging piece, that left one wanting more, inspite of the rather abstract concept.

From 2015, Robert Cohan’s Lacrymosa is a sombre duet that explores how Mary might have felt witnessing her son’s transformation into the Christ. Dmitri Yanov-Yanovsky’s music is an atonal lament, which Cohan fills with an elegant, searing, slow-moving pas de deux. Muir and Jonathan Goddard brought technical skill along with a beautiful flowing grace to give the piece true pathos.

Last of short shorter pieces, Kinaesonata was created in 1970 by American choreographer Bella Lewitzky. Danced to Alberto Ginastera’s Piano Sonata No.1, Op 22, it is pure movement, shorn of any story or context apart from its accompaniment. Lewitzky celebrates the power of the body to express its own possibilities in a curated space. As the programme notes say, “She created movement that treated the dancers as engineering marvels.” The dancers achieved those marvels, dancing superbly, melting their bodies into the music as the cadences rose and fell. Lewitzky’s choreography surprises and delights in turns, without becoming repetitive, a feature many of today’s choreographers could take a lesson from.

The piece de resistance proved to be the second London premiere of the evening, Troubadour by Christopher Bruce. In a stroke of genius, he took a recording of Leonard Cohen’s Live in London 2008 O2 Arena performance, celebrating the troubadour’s itinerant lifestyle. The combination of Bruce and Cohen produces a dance magic of the sort rarely seen, spellbinding and unforgettable. Yet again, it was danced terrifically, the chorography combining diverse dance styles, including tap, all requiring a high level of technical skill, absolute precision, clean lines and syncopation. Troubadour is run through with wry humour, and the ubiquity of a lifestyle that ultimately goes nowhere, owing nothing to anybody.

A truly fine evening, complimented excellently throughout by the lighting and costume design, all perfectly matched to each piece.