English National Ballet has brought a new triple bill to Sadler’s Wells this autumn and it certainly lives up to its name – Rhythm Riot. These are three very different pieces and, indeed, rhythms, some it has to be said, more successful than others.
It kicks off with Balanchine who, given his reputation as one of America’s greatest choreographers, is seen here surprisingly infrequently. This is partly due to his very particular style that doesn’t suit every company but ENB are on top of his angular neo-classicism, fast changes from perfect symmetry to jarring asymmetry and pops of leaping colour. The piece takes its name from the music – Stravinsky’s Symphony in Three Movements, propulsively played by the English National Ballet Philharmonic under the baton of Maria Seletskaja – and is as sharp and focused as the dancing.
English National Ballet dancers performing Symphony in Three Movements by George Balanchine
This first piece dates from 1972, late in Balanchine’s career, and while praise is due to Aaron Watkin the company’s newish artistic director for bringing him back to the UK stage, I’m not sure this is the best introductory piece to those new to this choreographer when compared to that stalwart of the Royal Ballet, Jewels. The other two pieces are very different from the first. Both are brand new and their choreographers are little known.
Bow Out just fizzes. The music is Heard Infinitely by Phillip Patrick Harper Bucknor (aka Tru) and there’s an overlay of a recording of a tap dancer. Why? Because Micaela Taylor’s piece is a tribute to the Nicholas Brothers, in particular their quite brilliant tap routine in the 1943 film, Stormy Weather. It’s all very golden age of Hollywood with tailcoats and plenty of sass and a variety of styles from lindy hop to jazz, though in their soft shoes the company didn’t provide any tap, strangely enough. Great timing, syncopation and sheer fun.
The final piece is definitely not fun. Auguries of Innocence comes from Korean choreographer, Jae Man Joo, after William Blake’s poem of the same name that laments mankind’s misuse of Nature. And it is very much a lament. Sangeun Lee, dressed like Miss Havisham in mourning, traverses the stage with her black train trailing behind her. There are silent screams and palpable grief against an intense and lyrical musical background by Pëteris Vasks plus some added Korean beopgogongyang drumming. There’s a rather effective ending but the choreography is as gloomily funereal as the premise before it gets there.
It’s certainly an eclectic triple bill, full of those promised rhythms and even at times a bit of a riot.
Rhythm Riot is on now at Sadler’s Wells until 3rd October. For more information, and for tickets, please visit www.sadlerswells.com.
Photography by ASH
