reposted from Ballet News Reviews

April 3, 2014

Reviews

Ballet News Reviews | Lest We Forget | English National Ballet

English National Ballet rehearses Akram Khan ‘s new work: Dust, as part of a program entitled ‘Lest We Forget’ in commemoration of the start of World War I, at The Barbican Centre, London on March 15, 2014. Photo: Arnaud Stephenson

Lest We Forget

English National Ballet

The Barbican, 2nd April 2014

Artistic Director and principal dancer Tamara Rojo & Fabian Reimair from English National Ballet rehearse Akram Khan ‘s new work: Dust, as part of a program entitled ‘Lest We Forget’ in commemoration of the start of World War I, at The Barbican Centre, London on March 15, 2014. Photo: Arnaud Stephenson

Many evenings spent in the theatre are forgettable; either the music grates or the choreography is so-so. Not this one. Rarely, if ever, have I seen English National Ballet so together and, well, on it.

A century on, Lest We Forget takes its theme from the First World War and the separation, longing, death and sheer work of that time. Recurring themes of trenches, of leaving, of staying and going to a job you don’t want to do, of factories, of small personal details, of loneliness & reflection, and of course, of loss, make this an impactful evening.

Ksenia Ovsyanick from English National Ballet rehearses George Williamson’s: Firebird, as part of a program entitled ‘Lest We Forget’ in commemoration of the start of World War I, at The Barbican Centre, London on March 15, 2014. Photo: Arnaud Stephenson

Akram Khan’s Dust may have been the big draw, and it was absolutely worth seeing, but it was Liam Scarlett’s clever No Man’s Land that delivered the biggest punch of the night. Punchy in its quietness, Jon Bausor’s designs aided the dancers in conveying the idea of seven couples and the pain of separation during war, as well as the unknown. Rich nuggets stand out : within a split stage, two dancers mimic each other’s tiny movements though they cannot see one another, a tender duet between Tamara Rojo and Esteban Berlanga (back as a guest dancer), a moving pas de deux with Fernanda Oliveira and Max Westwell, and the rows of women known during the war as ‘the canaries’ because the powder used to make explosives made their hands yellow. Indeed, their hands were yellow.

Alina Cojocaru & Zdenek Konvalina from English National Ballet rehearse Liam Scarlett’s new piece: No Man’s Land, as part of a program titled ‘Lest We Forget’ in commemoration of the start of World War I, at The Barbican Centre, London on March 15, 2014. Photo: Arnaud Stephenson

George Williamson’s Firebird isn’t much improved from last time. It’s a bit of a fantasy with great costumes and not much else. All praise to Ksenia Ovsyanick for her taut, fiery, flexible dancing in the title role; perfect casting. Begoña Cao, as the Purist, was strong and serene, and Junor Souza, as the Captain, had a cracker of a night. But it’s a ballet that doesn’t fit in this bill.

Alina Cojocaru & Zdenek Konvalina from English National Ballet rehearse Liam Scarlett’s new piece: No Man’s Land, as part of a program titled ‘Lest We Forget’ in commemoration of the start of World War I, at The Barbican Centre, London on March 15, 2014. Photo: Arnaud Stephenson

Russell Maliphant’s Second Breath is by far the most contemporary ballet of the night, and furthest from the classical comfort zone of the dancers and some of the audience. A bare stage covered with gently tilting dancers wearing battle dress is a stunning opener. The central couple, Zouza again, this time with Alina Cojocaru, made the most of the limited choreography. I’m used to seeing them both take on so much more and it felt disappointing to see them tumbling over each other to little effect. Many times you could have mistaken Cojocaru to be marking the steps – which she wasn’t – as if waiting for something more.

Junor Souza and Alina Cojocaru from English National Ballet rehearse Russell Maliphant’s new work: Second Breath, as part of a program entitled ‘Lest We Forget’ in commemoration of the start of World War I, at The Barbican Centre, London on March 15, 2014. Photo: Arnaud Stephenson

Akram Khan’s Dust felt very much like an ode to himself, though that takes nothing away from the brilliance of the work. A row of slowly upturning hands to the light; a sharp synchronised hand clap to release the dust; a no-hands head stand : these are details that mark out a great work.  At the same time, a piece danced by the choreographer inevitably has a distinct smell, and Dust was phenomenally danced by all concerned, but with Khan on the stage it could have been any one of his other works, for other people. There wasn’t anything distinctly ENB about it. That said, the Company were so together, so grounded and so visceral that they made the steps real, particularly as they turned themselves into human rope and unleashed their true power. Rojo returned to dance with Khan, and though the pas de deux had depth, it lacked interest. The women of the company, dressed in leggings and flapping over layers were stunning – and superbly rehearsed – in the middle section which was set so powerfully to the music and where they embody the social shift towards women in the workforce that is so marked during the war.

Anton Lukovkin from English National Ballet rehearses Russell Maliphant’s new work: Second Breath, as part of a program entitled ‘Lest We Forget’ in commemoration of the start of World War I, at The Barbican Centre, London on March 15, 2014. Photo: Arnaud Stephenson

This bill is one that you should see. It’s innovative in the true sense of the word. It’s brave and it has worked. The theatre was full and the audience reaction was validation of the immense hard work and dedication that the dancers have put into this work. They danced as one, they danced with power and intent, and they should be rewarded. Good to see Royal Ballet dancers in the audience including Natalia Osipova.

Don’t forget. Go.

Lest We Forget is in rep at the Barbican until 12th April