London City Ballet’s Resurgence at Sadler’s Wells

After nearly three decades, London City Ballet made a triumphant return to its former home at Sadler’s Wells with ‘Resurgence’, a performance that feels both like a heartfelt tribute to its past and a confident step into its future. Under the careful eye of Artistic Director, Christopher Marney, the evening offered a mix of classic and contemporary pieces that beautifully highlighted the company’s range and passion.

The evening kicked off with Ashley Page’s Larina Waltz, a vibrant and traditional work set to Tchaikovsky’s famous waltz from Eugene Onegin. This charming piece, which celebrates its 30th anniversary, saw five couples in constant, flowing movement. Whilst there were moments where the synchrony faltered, and the timing between dancers felt slightly off, the dancers’ grace and precision were on full display, with standouts Arthur Wille and Ellie Young delivering a particularly elegant performance. The waltz set a lively tone for the evening, perfectly balancing tradition with the energy of a company eager to reassert itself.

Kenneth MacMillan’s Ballade was one of the most anticipated works of the night, having not been seen in Europe for over 50 years. This flirtatious, playful ballet for one woman and three men featured the internationally acclaimed Alina Cojocaru as the central figure. Cojocaru’s grace and technical brilliance were mesmerizing, especially in her interactions with her partners, Alejandro Virelles, Joseph Taylor, and Nicholas Vavrečka. Their chemistry lit up the stage, bringing a captivating warmth to MacMillan’s choreography. It was a joy to watch this gem of a ballet, which felt timeless despite its long absence from the stage.

Another standout moment came with the second movement of MacMillan’s Concerto. This serene and tender pas de deux, performed by Isadora Bless and Joseph Taylor, brought a calm and reflective energy to the evening. The simplicity of the choreography, paired with Shostakovich’s score, allowed the dancers to shine in a pure, unadorned way. The piece felt like the quiet comfort of a familiar embrace, a gentle and intimate moment that evoked a sense of warmth and connection. It was a beautiful contrast to the more dramatic works, offering a moment of peaceful clarity amidst the evening’s intensity.

Arielle Smith’s Five Dances brought a contemporary twist to the evening, with its blend of modern dance and cinematic influences. The dancers embraced the challenge of this energetic work, though at times the piece felt more focused on form than substance. Still, the energy and commitment from the performers made it an exciting addition to the program.

Christopher Marney’s Eve, which closed the evening, was a bold and visually striking piece that offered a contemporary reimagining of the biblical story of creation. From the moment the Serpent, portrayed by Álvaro Madrigal, appeared as a looming shadow on a scrim, the audience was drawn into a dark and evocative world. Marney’s choreography was rich in symbolism, with Cira Robinson’s portrayal of Eve embodying innocence, curiosity, and ultimately the fall from grace.

The piece stood out above the others for its theatricality, blending modern dance with dramatic visual effects, such as the ominous red lighting that accompanied Eve’s pivotal bite of the apple. The sensual interplay between Eve and the Serpent was one of the most memorable aspects of the work, creating a tense and unsettling atmosphere. Robinson’s performance was particularly captivating; her physicality and emotional depth brought a complexity to Eve’s transformation from innocence to awareness.

Overall, ‘Resurgence’ lived up to its name. It was more than just a comeback for London City Ballet, it was a reminder of the company’s artistic power, its long history, and its bright future ahead.

Reviewer: Alan Stuart Malin

Reviewed: 12^th September 2024

North West End UK Rating: