Review: LONDON CITY BALLET - REBIRTH, Linbury Theatre

London City Ballet have been winning fans across the country since their reforming under the direction of Christopher Marney in 2023, and in their current eclectic programme, Rebirth, it’s easy to see why. From Ashley Page’s dreamy Larina Waltz, to Tasha Chu’s urgent and intense piece of dance theatre Soon, the company is engaging and inherently watchable in the intimate setting of the Linbury Studio Theatre. 

Purists will adore the classical aperitif to a jolly Tchaikovsky score. Larina Waltz sees all ten dancers paired up, swaying musically, the girls in glittering white tutus and shiny pointe shoes, but despite their sunny exterior, the choreography is fiendish with what could be cumbersome lifts and holds pulled off confidently. The action is close up in the Linbury, it’s very unforgiving to mistakes, something the cast seem aware of in the polished, synchronised segments. They dig in admirably displaying steely cores in the spiralling pirouettes and tours, and Page’s choreography flows easily in this appealing opener.

The men are centre stage for Jerome Robbin’s Quiet City. Set to Aaron’s Copland haunting score of the same name, it’s the first of two pieces that explore loss and mourning. The enigmatic Alejandro Virelles is centre stage, but all three of the trio have an otherworldly presence about them. Moments of stillness contrast with big expansive steps to the sombre soundscape of Copland’s orchestral suite. In the final scene, Virelles is seemingly brought back to life by his two attendants, Joseph Taylor and Arthur Willes. With its swelling score and understated technique, it’s a quietly moving illustration of loneliness. 

Perhaps the greatest surprise of the evening is Tasha Chu’s World Premiere, the ambiguously named, Soon. Shifting markedly from classical vocabulary to contemporary, a central couple are surrounded by a frantic group who lunge, jump, bend and roll, all white noise and chaos. 

There are standout performances from Sahel Flora Pascual and ???é?? ???????-?é?????é as the main pair who share a magnetic connection, their frequent glances towards each other becoming more and more desperate as they sense impending emotional pain. Technically they are strong too, fluid and slick with these more modern steps, Pascual channels her physicality beautifully as she later launches herself at her partner. The storytelling is helped infinitely by Andrew Ellis’ striking lighting design which punctuates the drama effectively.

Pictures at an Exhibition, danced against a backdrop of Kandinsky watercolours, poses a high degree of difficulty, changing rhythms and moods, which must all transition seamlessly. As the images on the background changes, so do the dancers, starting with the full ensemble, then to a duet and a solo and so on, all to Mussorgky’s skittish and unpredictable piano suite. 

Constance Deverney-Laurence shows herself as a fine actress and dancer, emerging as a leader of the group, she commits to every step and expression to convey a feeling, while Yuria Isaka is charming and curious in her bubbly solo. Impressive too is Lydia Rose Hough, LCB is her first professional role and here she holds her own entirely alongside her more seasoned colleagues, but is most at home in the exuberant and light-hearted segments.

It’s by far the longest addition to the evening, forty minutes in total, and one feels the stamina begin to fade slightly before the uplifting climax where Adeline Andre’s colourful costumes swirl on stage like a painting. Reina Okada’s spirited live playing adds an exciting spontaneity too, however the choreography is somewhat repetitious after a while, as it feels deliberately created so each of the ten dancers has several opportunities to shine.

These are minor quibbles however in what is a versatile and highly enjoyable programme, full of assurance and artistry. The pieces selected are high risk and demand a solid level of skill in classical and contemporary facets, and with dancers of such a high pedigree, it's something London City Ballet can pull off with flair.

London City Ballet are at the Linbury Theatre until 22 November