Show: BALLETBOYZ DELUXE
Society: London (professional shows)
Venue: Sadler's Wells. Rosebery Avenue, London EC1R 4TN
Credits: Various. Presented by BalletBoyz
Type: Sardines
Author: Paul Johnson
Performance Date: 25/03/2022
BalletBoyz Deluxe
Paul Johnson | 26 Mar 2022 12:34pm
All photos: George Piper. Review by Mrs Sardines
BalletBoyz, whilst a delightfully whimsical name, woefully underplays the magnificence of today’s company. A different group (bar one) to the original 2020 production which (like theatre and dance worldwide) was postponed due to COVID; the dancers and choreographers of Deluxe lead us through their fascinating creative process through candid film shorts shared before each piece.
Ensemble in nature, every dancer deserves a mention: Dan Baines, Pris Fitzpatrick, Seirian Griffiths, Benjamin Knapper, Luigi Nardone, Alecsander Nilsson, Dominic Rocca and Kai Tomioka.
Another difference is that Ripple was performed first and Bradley 4:18 after, a decision that for whatever reason works better in my opinion. The languid Ripples would have lost impact if succeeding the frenetic, manic Bradley 4:18.
As explained by choreographer Xie Xin, Ripple is a visual manifestation of emotions. The ever-changing fluidity that accompanies memories and feelings. Akin to various bodies of water (a small stone causing ripples on a pond, waves crashing against a shore and so on…), she aimed (and succeeded) in creating a piece where the dancers responded to each other almost subliminally resulting in synchronicity of beauty and power. Whilst some same sex partnerships lack cohesion due to similar energy levels ‘fighting’ for exposure (think Dancing on Ice, Strictly etc. where mixed couples bounce off each other – high energy from male partners offering a platform for the female partner, often with more steps to perform, to shine), the BalletBoyz manage to respond to each other, varying energy so that the resulting piece looks natural and fluid. The strength and stamina demonstrated is breathtaking and lures you into the stories being told. Coupled with Jiang Shaofeng’s interesting score, you are left feeling overwhelmed by the emotions evoked inside you.
I always maintain that the best performers have no need for eyecatching sets or fancy costumes and Deluxe is a lesson in achieving this. The whole stage area is black with a few muted overhead lights casting a comforting orange glow. The dancers’ costumes are diaphanous, muted colours allowing for their langourous movements and almost hiding the bodies of steel underneath. This clever concept will resonate with every audience member on some level, giving contemporary modern dance a well deserved place at the dance table.
Completely contrasting its production stablemate, Bradley 4:18, conceived around a piece by poet and author Kate Tempest, offers a different representation of titular Bradley and the demons plaguing him. Between choreographer Maxine Doyle and composer Cassie Kinoshi, we are dragged through multiple facets of this successful but confuses young man. One might see it as being various stages of inebriation or a decline into psychosis articulated through movement, but whatever the piece inspires in you, will leave you reflective or hopeful.
Again the extraordinary stamina and power the dancers possess is outstanding. Flexibility and strength in their movements makes you almost disbelieve their existence. Offering the dancers more opportunity for individual work, it culminates in ensemble work that highlights the understanding and symbiosis between them.
Modern contemporary dance will not be for everyone but you cannot help but admire it. The creative process is so much chaotic and organic than traditional dance disciplines, resulting in a performance that will move its audience on a much higher personal level.
If you cannot catch Deluxe (it ends at Sadler’s Wells tonight! before touring until 19 May), make sure you see something else by BalletBoyz. Their creativity and performance values are unrivalled.