Twice-Born – Sadler’s Wells

Twice-Born, the Scottish Ballet’s triple bill presentation at Sadler’s Wells, was an evening of fearless experimentation and captivating ensemble work.

Opening the night was Dive, a short film by choreographer Sophie Laplane—a piece leaving much to the audience’s interpretation. Its abstract visuals and elusive logic prompted questions about the very nature of movement and ballet. While its meaning remained obscure, it set the tone for an evening that, like a study of modern art, shifted the focus from precise execution and adherence to tradition to an open-ended exploration of the viewer’s own role in the production.

Next, Schachmatt (“Checkmate”) by Spanish choreographer Cayetano Soto brought a burst of fresh, playful energy to the stage. With a nod to Bob Fosse’s stylised approach, the piece mixed fun and attitude with animalistic movement. It was a spirited collision of Longchamp equestrian elegance and Pedro Almodóvar’s irreverent boldness, underscored by an eclectic soundtrack of French and Spanish influence.

The evening’s centrepiece, Twice-Born by Dickson Mbi, was a spectacular, emotionally charged study in the power of simplicity and collective belonging. Set against a Dune-esque desert world where Mad Max’s brutal vision collides with chilling Slytherin whispers, we witness a rebirth of human civilisation under the magnetic lighting of Jessica Jung and Han Yun. First Artists Anna Williams and Rishan Benjamin shone, with Benjamin delivering what may be the most graceful and moving portrayal of death I have ever witnessed on stage. Mbi introduced new rehearsal rituals at the Scottish Ballet—such as collective check-ins and “groovy” warm-ups—which translated into an ensemble performance that transcended mere coordinated timing. At times, it felt as if the entire company was breathing as one—a life-affirming treat for the eyes.

However, at times simplicity yielded to overt symbolism, with certain images—simultaneously conjured by choreography, plot, music, and set—feeling too on the nose. This lack of nuance is a shame, given such a captivating, complex narrative and the remarkable talents of the troupe’s dancers.

As a whole, this Scottish Ballet’s triple bill fearlessly breaks many codes. It challenges traditional gender and ballet roles, showcasing a crossroads of dance techniques where men unabashedly hip-shake and women embody primal anger and strength. Although a more consistent visual language might have elevated the experience further, the evening undeniably invites both admiration and critical reflection on the future of the art form.

Playing until 8th March, https://www.sadlerswells.com/whats-on/scottish-ballet-twice-born/

Reviewer: Klervi Gavet

Reviewed: 6th March 2025

North West End UK Rating: