Youth Company of the Finnish National Ballet

Linbury Theatre, The Royal Ballet & Opera, London
June 13, 2025

Helsinki with its close proximity to St Petersburg, home of the Vaganova Academy, has a history of fine classical ballet training. When this excellent technical base meets the vibrant creativity of the Youth Company of the Finnish National Ballet, it’s an explosive mix. UnderArtistic Coordinator, Nicholas Ziegler a former principal dancer with the Finnish National Ballet, the company of 14 dancers, roughly half Finnish and half internationals, made a welcome return with a triple bill of works new to London.

Marco Goecke’s Blushing is a perfect vehicle for the energy and commitment that the company has in spades. Created in 2003 for Stuttgart Ballet, it’s an early work that thrust Goecke into the international spotlight, and established his signature high-energy, high-tension style.

Blushing expresses the anxiety and embarrassment that makes us blush, but being Goecke, it’s taken to the edge. The dancers wear black trousers, with the occasionally addition of a black jacket which more often than not is used as a dance prop to beat the rhythm. Goecke is responsible for both costumes and lighting, and his no fuss approach directs the focus firmly onto the dancers. The music comes in snatches, pounding and driving with the dancers making their own sounds much of the time.

And the dancers are tremendous. Opening with their back to us, they prove just how expressive twisting, intertwined arms and muscular backs can be. The tension builds like steam hissing through fissures and waiting for the volcano to erupts as each performer in a slightly different way, finds their signature twitch.

Takdanai McLeod-Smith had the edge on speed in rapid flickering hands and freeze-frame focus, Vincenzo Romano’s arms seemed to work totally independently of his body, while Werneri Voitila danced a brief and brilliant solo. Sofia Repo too had an intense solo, a tad deeper and darker. The company of eight then come together and prove each one is as fast and co-ordinated as the next in choreography that explores every possibility of movement. The dance language is instantly recognisable as Goecke’s, offering infinite variation within tight limits and always eloquent.

Fragments of Time by French choreograper, Julian Nicosia opens with the lighting rig positioned just metres over two entwined male dancers. As they unwrap, the lights are raised and the dancers go through their classical paces: bright and confident, in the moment and in the space.

Nicosia’s work, written for the company, is about memories, not only in the past, but as they are created in the present and with thoughts of the future. This concept becomes more coherent when it relates to his progress as a dancer from classical to contemporary, and all the time he is tapping into the youthful energy and fearlessness of the dancers who delight in the fierce challenges on offer.

The detour into a sensual male duet switches the dynamics but seemed more of an intrusion than a meaningful excursion. However, we were soon back to a stage full of silhouetted dances in fast paced contemporary ballet with thrilling pointe work, turns and leaps. The partnering throughout was secure and fully up to professional standard. I loved Yujeong Kang, confident balance on pointe, while Anni Martinsén also stood out in an excellent lineup with the men finding good opportunity to prove their virtuosity.

Clique, by Reija Wäre, also a commission, with music by Minna Koivisto, was the third work. Wäre has done successful narrative works for the main company and I wish she had gone further along this path. As it stands, the work is a battle of styles with Werneri Voitila, dressed in casual red streetwear challenging the more classical dancers in very eclectic dress. The women sport gold bodices and tulle shirts, while the men are in tunics with elaborate sleeves that, sadly, do little to enhance the movement.

Voitila throws down the gauntlet in daring street dance moves and the ensemble counters in brilliant contemporary ballet. While there is no outright winner, there is a great deal of lively dance. The lighting is bold and colourful and somewhere there seemed a story waiting to be told. Clique was an extract of a longer work and I think rather lost its way in the editing process.

Between the two commissioned works each of which featured most of the company, was a film introducing the dancers in a casual and relaxed manner. It had an obviously purpose in giving the dancers a chance to change costume and catch their breath, but it would have benefitted from firmer direction. However this is a small gripe in a highly enjoyable display of young talent.

The Youth Company of the Finnish National Ballet were presented as part of The Royal Ballet’s Next Generation Festival.