Whatever concept Ballet Nights founder Jamiel Devernay-Laurence chooses to give each Ballet Night, and he is a great talker-upper, basically, the evenings are a mix of the old and the new, of classical, contemporary and neo-classical. There is something for everyone, and each of us will have our own favourites depending on inclination.
As is now regular, each half is opened by Viktor Erik Emanuel on piano, to get us into a receptive mood. Liszt’s "Grandes Études de Paganini, S. 141 - No. 6 in A Minor" is jaunty, but the second half’s "Dance of the Goblins" by Antonio Bazzini is jauntier still as performed by virtuoso Michael Bochmann on violin, ‘dancing’ on the stage with Emanuel sat at the piano. Great fun.
Five pieces follow in the first half, four in the second, although it could be four each, as the opening number, English National Ballet principal Shiori Kase’s Black Swan Variation, is very brief, a taster really.
The next four pieces are contemporary but illustrate the range of modern dance. Scottish Ballet’s (choreography Madeline Squire) new Echo Echo is ostensibly about finding and losing connection in a relationship. Kayla-Maree Tarantolo and Harvey Evans drift like two mobiles in the wind to Caleb Arrendondo jazzy saxophone music, which at times has something of Philip Glass about it.
More drifting in Marco Pelle’s Safe from Sleep danced by former Royal Ballet principal Mara Galeazzi to Arvo Pärt’s familiar dreamy tintinnabulum composition.
The wake-up call comes from eighteen students of Rambert School (here again) in Richard Alston’s 1990 Roughcut to Steve Reich’s Electric Counterpoint. Must be nostalgic for him and for many of us who miss him since his company folded in 2020 through shameful lack of Arts Council funding.
I see his familiar propeller arms, his favoured arabesques penchées. I’m watching a daily class, a workout and a showcase for the students. Alston was resident choreographer with Ballet Rambert since 1980 and artistic director from 1986 to 1992.
The best is saved for last… ABC by Eric Gautier (also lighting, costume and composition, the latter with Philip Kannicht) danced with incredible verve, ballon, panache and wit by Victor Caixeta. Recently with Mariinsky, after 2022 with Dutch National Ballet (lucky them) and now freelance... As he lip-syncs his way through a voiceover list of words, both balletic and not, he demonstrates with his body—it’s a masterclass in dance body language and mime. And stage presence and personality to spare. It is a gala piece par excellence. The audience erupts in cheers. More please.
Probably the highlight of the evening, though BlacBrik’s excerpts from Death of the Bachelors follows hard upon in the second half after the "Goblins" music piece. Choreographed and danced by Nahum McLean and Darius Drooh to James Brown ("Night Train", "I’ve Got a Bag of my Own") and Sam Cooke ("Fool’s Paradise"), it is two guys realising bachelor days are done. The club vibe music drives the moves, and who wouldn't want to dance to that soulful and funky music… wonderful.
Bach Reimagined (by composer and cellist Raphael Weinroth Browne—on stage) brings matters down to earth—with electronics and hard-core groundwork. Choreographed and performed by James Wilton and Sarah Jane Taylor in daring lifts and dynamic contact work, it takes the breath away.
The breath is tamed by Philadelphia’s BALLETX (making their UK debut) dancers Francesca Forcella and Jared Kelly in three duet extracts from Big Ones. Music by Amy Winehouse—more emotional couple issues—choreography by Trey McIntyre, wet-look leather costumes by Reid and Harriet. What the tall rabbit ear hats (I think of Michael-Keegan Dolan’s Rite of Spring but that can’t be right) are about, I’m not sure—is it sex play?
And finally, back to neoclassical form with (Re)Current (which I saw a few years ago at RAD) from Royal Ballet principals Mayara Magri and Matthew Ball (also choreographer). To flowing watery music by Jean Sibelius ("Laetare Anima Mea"—"My Soul Rejoices"), they swim in each other’s arms. Intense, solemn, passionate… the programme quotes Hermann Hesse’s Siddhartha... a couple in real life, are they celebrating their union, is it a love letter from him to her?
So, a mixed bag of confectionary, as these things usually are, with much to savour—not all will be to your taste. If I have to pick my top three, it’s ABC, Death of the Bachelors, and Bach Reimagined. Not all will agree.
Ballet Nights returns 5 June. One is always curious as to what Devernay-Laurence’s next iteration will be, who he will discover and bring to our shores. I always think Devernay-Laurence is made for hosting the Royal Variety Show at the London Palladium.