Review: LONDON CITY BALLET: RESURGENCE, Sadler's Wells

Almost thirty years since they last performed before an audience, London City Ballet are making a return to their former home at Sadler's Wells for a handful of performances this week.

Artistic director Christopher Marney has assembled a small company of talented dancers and in this Resurgence programme, a mixture of classic pieces half-forgotten from the reportoire and new commissions.

For the London run, guest artist Alina Cojocaru performed alongside Alejandro Virelles, Joseph Taylor, and Nicholas Vavrečka in the highly anticipated revival of Kenneth MacMillan's flirtatious Ballade (1972), unseen in Europe for more than half a century. This was a piece which richly deserves to be back in performance as it was playful right from the moment boy and girl touched hands and eyes met. 

Cojocaru is noted for her captivating dancing in all the major classical roles, notably Juliet, Giselle, and Marguerite. Her appearance with the London City Ballet drew a warm reception and her chemistry with the three men in the piece was notable.

The programme has a whole seems to have the theme of longing. An act two closing piece from Marney, Eve (2022), has Cira Robinson's Eve disturbed and awoken to the concept of sin by Álvaro Madrigal's sensual and sinister Serpent, who first appears as a huge shadow projected on to a scrim curtain, dwarfing his prey.

Later, groups of Adams and Eves in close-fitting clothes that match their flesh tones suggest the innocence of the Garden of Eden, while Eve's bite of the (real) apple is highlighted by a harsh red glow from a spotlight.

The other long piece of the evening is Arielle Smith's new Five Dances, which allows a company of six to go all out in contemporary style, even at points continuing to move as the lights go down. It is a passionate display, especially in Taylor and Ellie Young's duet, but I wasn't quite clear what it was for.  Smith brings Cuban and cinematic influences to her piece, but there is a lack of purpose here.

On safer and more traditional ground are the beautiful tutu waltz for five couples, Larina Waltz by Ashley Page, which celebrates its 30th anniversary this year. It is fast-paced, lively, sharp, and sweet - a perfect introduction to the evening. Young dances here with Arthur Wille, a young Brazilian dancer who also shines solo in Five Dances and in the ensemble of Eve.

MacMillan is also represented by the second movement of his Concerto (1966). This piece was inspired by the warm-up routine of ballerina Lynn Seymour, and is a sweet pas de deux allowing the female dancer (Isadora Bless) to utilise her partner (Taylor) as her support and barre. With a bright orange circle framing much of the action, this is a throwback to the past and the seeds of modern movement.

As well as the quintet of pieces, we were treated to some projected video giving the background on the company between 1978, when it was founded by Harold King, and 1996, when it closed due to lack of funding. Much is made of the fact that the Princess of Wales was a patron who supported the company's aims.

Christopher Marney as new artistic lead has stated that he is "deeply drawn to reviving past works of influential choreographers which may have fallen out of the repertoire of mainstream companies and breathing life into those lost ballets" and is "committed to creating a diverse and progressive company of dancers that speaks to a new generation".

It is good to see this company back on the scene, and with such a talented group leading them into their new era. At just 100 minutes including interval, this evening could have perhaps included another piece, but it was an enjoyable show which will surely not be their last at their old stomping ground.

The London City Ballet have proved themselves worth watching and deserve their place in the international dance scene. I can't wait to see where their Resurgence takes them next. Welcome back.

London City Ballet: Resurgence continues at Sadler's Wells until 14 September

Photo credits: ASH

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