Review: THE FORSYTHE PROGRAMME, Sadler's Wells

Back in 2018, English National Ballet premiered Playlist (Track 1, 2) as part of their Voices of America programme. It was William Forsythe’s first new work for a British company in 20 years. Then, Playlist was an all male affair and lives long in my memory as the first time I saw a Sadler’s Wells audience whooping and cheering in their seats before there was any sign of a curtain call. Forsythe has become a regular in ENBs repertoire ever since with this programme featuring the now fully formed Playlist (EP) and two works the company tackles for the first time, it makes for an exhilarating evening of feelgood dance. 

We do, of course, need to pace ourselves before we get into party mode, enter Rearray (London Edition 2025). A low key trio originally created in 2011 for two dancers. Sangeun Lee demonstrates mesmerising athleticism and precision. Her long limbs are sharp and her lines beautifully shaped. She bourrées wildly, flaps, turns and leaps before becoming completely still once again. It’s all done so casually in a cropped t-shirt and dance tights, managing to undulate and weave her body into position as her two partners observe her. 

The piece alternates between silent sections and David Morrow’s tense score of strings. In the quiet, we can hear the dancers breathing creating a sense of intimacy. It’s a while until Lee dances with Henry Dowden and Rentaro Nakaaki and there's more of a rehearsal than performance energy present, each inhabiting their own space on stage. The men keep up well but it will be Lee than is remembered in this rather sober opener. We can’t have end to end euphoria, I guess.

Herman Schmerman was Forsythe’s second work for New York City Ballet in 1992, and is a dynamic quintet danced with flair and panache by this opening night cast. Dressed in burnt amber leotards and shorts they bounce and skip through the choreography with ease. Each member of this honed team brings their own unique charisma to the stage. Alice Bellini is agile and neat amongst the frenetic pace, Ivana Bueno is silky smooth while mastering the tangle of footwork. Swanice Luong is a new recruit who followed Artistic Director, Aaron S. Watkin from Semperoper Ballett and she performs with the confidence of a seasoned Forsythe dancer, light and effervescent. Thom Willem’s kookie electronic score is lively and unpredictable, as if the choreography alone was not enough to keep everyone on their toes.

The men match up well too; Aitor Arrieta and Francesco Gabriele Frola deliver some virtuoso solos, control and power personified, before blending back into the group who jump and kick, all with the most crisp of techniques. 

Appetites nicely whetted, we now reach the main event, and forgive me if I come over a little gushing. Playlist (EP) is now tightened up and tweaked for our enhanced viewing pleasure. Consider it the deluxe edition.

Before it was fully formed, Playlist was a male only affair, but thankfully since 2022 the whole company is showcased, now adorned in hot pink tunics for the ladies while the men are elite-sports-team chic in shirts with their names on the back. Bodies ripple with fluidity while their feet fizz underneath them. The boys open with ego and swagger, knees bent and a finger click to Surely Shorty. 

The girls hit a more upright and funky note in Vegas, Georgia Bould and Emily Suzuki especially, were full of flourishes and delivered elegantly. We then build towards a finale where Frola is once again thrilling the Impossible solo. Rhys Antoni Yeomans and Eric Woolhouse were also amongst the pick, Yeomans with the music flowing through him was picture perfect, while Woolhouse oozed a cool confidence.

It’s left to Precious Adams and Junor Souza to close things out in joyous fashion with This Will Be (An Everlasting Love) in which they share a fun chemistry and whip fast feet to gallop across a completely stripped back Sadler’s Wells stage.  

Reviews are meant to be impartial, but I am going to lean on the slightly personal side here, just briefly. As a lover of ballet, who has been watching many of these dancers for over ten years, to see some of them finally get the casting they have been deserving of as they nail the technicalities of this sparkling programme, it was hard not to feel a swell of emotion. It was clear how much this opening night at Sadler’s Wells, packed with the great and good of dance, meant to them and they truly thrived in this special setting.

Ballet gets consistent criticism for not being accessible, but this contemporary take featuring pop and soul music has mass public appeal, it’s only a shame this programme cannot be seen outside of London.

The genuine elation of the performers was evident throughout this Forsythe Programme. Their delight is not painted on, it is a palpable ecstasy that is authentic and sincere. Five stars is not about perfect, five stars is a feeling in your gut, and you will float out of the theatre after this joyful injection of dance heaven. The Aaron S. Watkin era of English National Ballet feels well under way. 

The Forsythe Programme runs at Sadler's Wells until April 19.

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