Review: LEGACY By Elmhurst Ballet Company, Sadler's Wells

Elmhurst Ballet Company, the graduate year students of Elmhurst Ballet School opened their 2023 performance Legacy at the Lilian Baylis Theatre, Sadler's Wells on 14 May. The student company will also be performing the programme at the Elmhurst Studio Theatre (Birmingham) 19-20 May.

Legacy acknowledges the meaning of the word, and the fact Elmhurst is celebrating its centenary this year. Founded in 1923 in Camberley, the school relocated to Birmingham in 2004 where a close relationship with the Birmingham Royal Ballet was initiated. The Legacy bill is jam-packed with mostly new work, but also acknowledges the past either through programmed historical work, or the taking of inspiration from it.

The performance is bookended with Frederick Ashton's Birthday Offering (1956) with music by Alexander Glazunov. Seeing the work again reminds me how demanding ballet is. You can't cut corners or hide anywhere. The finale was definitely better than the opening as the dancers had already had some stage time. However, the first viewing still needs some work, as there were numerous questionable moments both technically and partnering wise. But as I said - the artform and specific piece are both hard, and the cast dealt admirably with the intricate spacing requirements and looked well rehearsed.

Next was Resonate by Jack Farren, a member of the Elmhurst Ballet Company, with music by Elliot Moss. Overall, the piece was acceptable but nothing monumental. It just didn't feel like it had any progressive agenda - and I believe dance, and specifically ballet needs one; especially from our future bastions. Structurally the most apparent framework was unison...and there was lots of it.

Malambo by Elmhurst teacher Sonia Fajardo with music by Alberto Ginastera was the next work. I suppose every programme needs a party number but it wasn't my thing. The dancers absolutely worked the (I presume) Argentine vibe, though it didn't manage to enter my veins.

Closing the first section was The End is Where We Start by Jordan James Bridge. The initial choreography felt somewhat predictable for current 'contemporary' fare: relentless movement and legs being whacked all over the shop. But as the piece progressed, so did the content, and subsequently the dancing. With some space and consideration movement-wise, the cast were able to show their level of embodied understanding and contemporary dance skill. Which is very encouraging when considering the reality of the current 'ballet' industry repertoire trends.

Opening the second half was Doin' That Doo-Wah Thing! by Cris Penfold. This was the jazz piece of the programme and it was a big hit. It felt fresh and spunky yet classic. And the cast seemed to love doing it. I was also mightily impressed by their prop and attire skills. At one point the female cast were full-on dancing with a cane and hat in heels. Very impressive for ballet school graduates!

Next was Bronislava, a new commission by Avatâra Ayuso (choreographer and artistic director of Ava Dance Company). The blurb suggested the work "honours the 1923 [also a centenary] Les Noces" - but that wasn't my reading at all. My take was more of a melodramatic analysis of the politics within the Ballets Russes. Which is of course important - as those specific politics defined (Bronislava) Nijinska's career, or lack of considering her talent. So overall it felt like a wasted opportunity of sorts - but there was some ingenious, stylish corps de ballet work to be savoured. A suggestion of Les Biches' chicness. It's also a shame Nijinska isn't being celebrated in a more obvious way anywhere in the UK in 2023.

Closing the matinee (excluding Birthday Offering #2) was Argonauts from David Bintley's jazz-based The Orpheus Suite (2004), with music by Colin Towns. I haven't seen the work in its entirety - but Argonauts definitely makes me want to. Bintley isn't just a ballet choreographer - he's a choreographer full stop. And an incredibly musical one at that. This piece was also verging on non-stop movement, but with evident purpose and skill throughout: and that's the clincher. The all-male cast absolutely rose to the challenge, and the high calibre of demanding choreography elevated them to be the best dancers they currently are.

Throughout the performance, we were treated to video excerpts which saw the cast talking about their time at Elmhurst, and hopes for the future. The students spoke so warmly that it made quite the impact. Full-time training in any discipline isn't an easy thing, and if the dancers' words are anything to go by - it seems Elmhurst is doing a good job indeed.

Photo credit: Magda Hoffman

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