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Sadlerâs Wells; Royal Opera House, London
Cue rapturous applause â and backbends â as the stars of ENB and the Royal Ballet storm back to live performance in two bold, future-facing programmes
âAccelerating mayhemâ: members of English National Ballet perform Arielle Smithâs Jolly Folly. Photograph: Dylan Martinez/Reuters
âAccelerating mayhemâ: members of English National Ballet perform Arielle Smithâs Jolly Folly. Photograph: Dylan Martinez/Reuters
Sun 23 May 2021 04.00 EDT
Ballet is back, and itâs the little things Iâve missed. The slap of a sole on the floor, the skitter of a pointe shoe. That sudden intake of breath before a leap. The swoosh of a turn. Those tiny sounds of effort and release are signifiers of the bigger thing that makes live dance unique: its ability to embody a wide range of emotion in a tangible form.
Last modified on Wed 19 May 2021 05.58 EDT
When the announcement telling you to switch off your phone is drowned out by whooping and cheering, you know audiences are glad to be back in the theatre. English National Ballet wastes no time getting on stage, converting five films made in lockdown into live dance.
The works are familiar from their digital form, but live you notice different qualities and details. Yuri Possokhovâs Senseless Kindness loses its atmospheric cinematography but gains from the the ability to follow his long, lyrical phrases in full, performed with great sensitivity by a quartet of dancers (Isaac Hernández, Alison McWhinney, Francesco Gabriele Frola, Emma Hawes) attuned to each other in perfect unity.
Reunion, Sadler s Wells, review: a flashy return for the English National Ballet
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