Review: LONDON CITY BALLET - FIREBIRD, Sadler's Wells
London City Ballet return to Sadler's Wells
London City Ballet (LCB) is a company on the rise. Christopher Marney’s rebirth of the company was only three years ago. Now they are filling the house at Sadler’s Wells with the great and the good of the ballet world present for opening night. Their deal is an exciting one; presenting ballets rarely seen in the UK (old and new) and their latest London premier shows confidence and versatility.
Securing a John Neumeier piece certainly adds gravitas. Ghost Light is a work made during the COVID era for Hamburg Ballet. This iteration is shortened to 55 minutes, but I think we all broadly got more than a sense of what it offers. Essentially plotless on a bare, undressed stage, lit by only one “ghost light” as was done in theatres during lockdown, we see a series of vignettes between soloists, duets and small groups.
It starts with Guest Artist Alina Cojocaru as a dishevelled, brittle Odette. She wears practice tights and a limp tutu with loose hair as she dances the familiar phrases of Swan Lake - Odette’s first meeting with Siegfried - to a silent soundtrack before tripping on a chair. This unsettles her; she mutters and paces the stage,“Where is my Prince?” before exiting. This is an entrance into the half stories and thoughts that proceed to come and go before us.
Noah Cosgriff and Siméon Sorange-Félicité share an emotive and physical series of pas de deux woven throughout. Bursts of dancers in red dresses dance with partners before disappearing again. Jimin Kim in pale blue caught the eye; an expressive dancer with an effervescent stage presence. Together with Samuele Barzaghi, they were another couple who weaved in and out of the action, floating delicately and sharing a bubbling connection. Arthur Willie is also exciting to watch, his body pulsing with an electric energy.
There are hints at unrequited love in a pas de deux for Nicolas Glȁsmann and Francesca Velicu. Velicu is a recent acquisition from English National Ballet, a Soloist there but often without the opportunity to shine. She thrives here, dancing with maturity and confidence. She will dance the lead role in Firebird at other performances.
It’s worth highlighting how mesmerising Cojocaru remains to be. Her petite body exuding strength and sensitivity, still as flexible as plasticine. Joseph Taylor is a wonderful partner for her, they move seamlessly through the lingers lifts which see her draped across him.
It’s a piece which has brief moments of emotion or intrigue that draws you in, but at 55 minutes it takes too long to get there. I sensed restlessness in the audience. Franz Schubert piano scores meanders endlessly. Visually the dancing is excellent but there is no sense of where it’s going, which grows frustrating. More seasoned balletomanes may love this but it’s not as accessible for the more casual ballet fan.
Glen Tetley’s Firebird was a good call for a bill that needed a story to hold on to, even a rather unconventional one at that. This retelling of the Fokine original debuted in 1981 and remains deliciously gothic. The Stravinsky score rich with drama, making for a wonderful slice of dance history.
John MacFarlane’s designs are equally as exquisite, the dark and imposing backdrops (there is no set), and the initially buttoned up costumes of the Firebird (Ellie Young) and her family tell the story for us. She is constrained and isolated, seeking freedom before she breaks free. As the Firebird, Young is impressive, her long limbs with powerful, lofty extensions have a bambi like quality perfectly suited to her youthful character. Joseph Taylor, is once again a strong and tender partner as her lover, Ivan, together they are a deeply committed and watchable pair.
Arthur Henderson’s Kotschei (Keeper of the Garden) hits great heights in his solo, but I would have liked him to be a little more ominous to really establish his contrasting role to the central couple. His accompanying ensemble, a flock of birds, certainly brought home the gothic horror of it all in a visually menacing sight.
There’s a lot to take in here from a fresh company presenting two works London audiences have likely not seen, or not seen in some time. The pull of experienced artists like Cojocaru and Taylor bring you in, but there are layers of talent among the small cohort of fifteen that mean return viewing will always be appealing.
London City Ballet are at Sadler's Wells until October 24th and then touring.
Image: ASH
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