In February 2022, Kyiv City Ballet departed the Ukraine to go on tour in France, but the war against Russia erupted only a day after the company left its homeland and, since then, the dancers have led a disenfranchised existence operating in exile. So it is a testimony to the artists' dedication that through such adversity, the company has continued to perform, bringing an unbreakable Ukrainian spirit to the London stage.
With this in mind, tonight’s packed line-up of fifteen short pieces is nothing short of a marvel, all danced with joy and passion for their art form. Billed as a Tribute to Peace, panned music and vintage postcard-style sets of Kyiv frame a quirky line-up of ballet excerpts from the tragedies of Giselle and Les Sylphides to Ukrainian folk dances, creating the impression of a homegrown performance. It feels like an end of term gala, showing off the six principal dancers to the best of their admirable abilities.
There are some unexpectedly playful choices, notably Servant of the Muse where Grecian statues come to life in full flirtation, strutting like peacocks and worthy of a scene from Monty Python's Life of Brian, veering far from the classical ballet form.
A couple of real gems are buried in the programming, from the achingly elegiac interpretation of "The Dying Swan" (Kateryna Floria) towards the end of the evening, where Floria dances as part-bird, part-trapped human, a beautiful metaphor for the dancers’ current lives. The simplicity of choreography also allows for breathing space in comparison to some of the more florid, slapstick excerpts, while Kristina Kadashevych as Giselle offers a highly emotional performance, all willowy arms and sorrowful face, ready to fly off with the Willis as her light-footed sautés elevate her high up into the eaves.
Showcase is the word to describe the choreography, which leans towards the acrobatic as each round of jetés and fouttes are met with enthusiastic applause, especially the breathtakingly virtuoso performance of Vladyslav Bosenko, whose dizzying turns whirl impressively like a spinning top. At times, though, such bravado appears repetitive and the young dancers, especially the corps de ballet who looked barely out of ballet school, could’ve possibly been stretched further in terms of choreographic offerings.
The two-hour gallop through dance history ends on a rip-roaring high with Men of Kyiv. It's a smart choice to finish with high-octane antics where Cossack-style dancers in flowing yellow and blue shirts fly across the stage with incredible flexibility. There are awe-inspiring feats from low squat kicks that make your knees quiver to leaping, clapping and whooping in sheer celebratory joy, encapsulating a moment of freedom wrapped in an emotional tug for home in every step of this Ukrainian folk dance.
While classical ballet purists may notice that, on occasion, technique is not always flawless, such admiration for what these performers have achieved in the face of adversity cancels out any reservations on the production values front. As the evening draws to a close, the full house roars in support, and it feels right to celebrate and support these artists who are living in a state of unsettling semi-permanence. Catch them while you can.