Review: NORTHERN BALLET - THREE SHORT BALLETS, Royal Ballet And Opera

Northern Ballet return to the Linbury Theatre for a triple bill of diverse works…or is it really a double bill with an additional third piece that's just five minutes long?!

Opening the programme is Rudi van Dantzig’s 1977 work Four Last Songs. And though well danced, it isn't my cup of tea. I struggle with melodramatic abstraction, and that's very much the case here. The movement of the four pas de deux is perpetual and on the generic, neoclassical side, recorded Strauss doesn't help matters. Neither does the cloud scape backdrop that's too small for the stage, and wrinkled at the edges. I understand Artistic Director Federico Bonelli has a connection to Dutch repertoire, but I'd argue there's far superior works to present from the country's choreographic canon.

The five minute interlude is Victory Dance, created by The Royal Ballet’s Kristen McNally. The work features two Northern Ballet dancers (Archie Sherman and Yu Wakizuka) and Joe Powell-Main, a disabled dancer who uses wheels and crutches.

The piece is probably best described as a Latina-vibe camp fest with joy as the main intention, and not a lot else. Seeing Powell-Main skim the stage in his chair, spin at breakneck speed, explore the terrain through floorwork and engage in a partnering trio with his fellow cast members is both powerful and absolutely what it means to witness dance today. That said, the overall work would improve with more choreographic and intentional gravitas.

Closing the bill is choreographer du jour Mthuthuzeli November’s latest creation, Fools. Inspired by R.L. Peteni’s novel Hill of Fools - “a bitter rivalry between two villages”, November takes Romeo and Juliet to the townships of South Africa and discusses the complexity of ethnic rivalry, and to great effect. 

November is a consummate storyteller, no doubt, and he also understands all the tricks of the trade. Sets on wheels define the performance environment, dancers running across the stage communicate space and purpose and an eclectic score including nature sounds gives off buckets of ambience. Intelligent props enhance the narrative underpinning. And finally dance, when used correctly, channels seriously believable emotion. 

The last point isn't solely down to November though, as his principal cast (et al.) more than do him proud. Shakespeare is everywhere with opposed fractions, star-crossed lovers (Harris Beattie and Sarah Chun) and a violent, controlling male family member (Antoni Cañellas Artigues). The treatment of the lead female character is at times difficult to watch, but it's important not to shy away from the ugly truth I suppose.

November's strongest moments are when he creates for an individual or duo. Here we can read genuine emotion, be it bewilderment, young love or blind hatred. The only weak spot for me is the group work (at times). It's far from bad; something like a more grounded, Jerome Robbins vernacular. But currently there's way too much unison and comfort in the choreographic phrasing - it doesn't feel like November is pushing himself…and he should be. As that's when a work becomes genre-defining as opposed to just another good piece.

All in all it's a night of fearless dancing from Northern Ballet with November’s Fools  making a solid impression.

Three Short Ballets runs at the Linbury Theatre, Royal Ballet and Opera, until 31 January

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