Based on the book, England on Fire by Stephen Ellcock and Matt Osman, this sizzling production brings England’s eclectic past and present to life. The show begins with a meditative lighting design (designed by Andrew Ellis) projected on the high side walls. This gives way to a sombre, moody, arboreal setting with freakish animal-hybrid characters extravagantly dressed in black, watching the metaphorical birth/death of our protagonist. A dramatic start.
The piece is a curation of different dances, each relating to a segment of the book. The setting explores England through time; from the ancient land to the modern day featuring a sparky Arctic Monkeys-esque band, Gag Salon. It is no surprise that the result is outlandish and stylistically fluid. The main thread is this new-born person we follow, as we watch them orient themselves, learn, adapt, and survive in their new territory. The sequences see the person tentatively observe, merge, and explore in the midst of different cohesive groups, formed by the other dancers. They clearly convey the purity and emptiness of newness in contrast with the fullness and certitude of collective identity.
The company, led by Michael Nunn and William Trevitt, were bold and daring. You could feel the individuality of the dancers emerge as well as the attitude of their characters, giving a real zest to the performance, with particular flair from Luigi Nardone and Meghan Stevens.
Primal and folk elements were stitched into the dance numbers and was reflected in the score, directed by Charlotte Harding and conducted by Aaron Holloway-Nahum. The orchestra was note perfect and insinuated the unknown, with a foreboding trombone creeping at intervals, and the hopeful sound of the woodwind and string instruments. The dance choreography responded to it beautifully, articulating the pops and clangs. I particularly enjoyed the fiery order of “Settlement”, choreographed by Vidya Patel and the mesmeric use of momentum and anticipation in “Water”, choreographed by Lucy Bennett. The immersive surround sound system elevated the simple, poetic narration and made England feel like an all-consuming entity, like a microcosm of God. That said, I often struggled to make out the words from where I was sat.
MJ Holland’s video projection worked wonderfully, showing the shifting landscapes and transformations.
I appreciate all the different directions and ideas within the piece, and the celebration of chaos but I felt that the show could have been a tiny bit more cohesive. The journey of the self, with the metamorphosis and the celebration and criticism of England were all huge narrative themes that battled for the spotlight within the piece. Yet, all the detail and imagination that went into this ode to England is inspiring. Balletboyz’ colourful collage from different creatives encapsulates the cultural melting pot in England.
Playing until 11th November, www.sadlerswells.com/whats-on/balletboyz-england-on-fire
Reviewer: Riana Howarth
Reviewed: 8th November 2023
North West End UK Rating: