Review
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English National
Ballet With this triple bill of ballets- Les Sylphides, Voluntaries
and Etudes - the English National Ballet demonstrate perfection
in all its forms. The pieces are disparate in style and staging, but
are unified by their desire to show strength and grace of technique.
Whether striking an elegant, languid or dramatic pose, all succeeded. The staging of Les Sylphides by Alicia Markova, Chopin's music,
and the Corot inspired set infuses the ballet with a classical purity.
The dancing is elusive, but precise, the corps forming pools of light
as they weave around the stage. There is no story to Les Sylphides
- the whole purpose of the piece is to demonstrate the grace and technique
of the dancers. The ballet is a piece of pure romanticism, which is
delightful, but suffers by comparison with the next piece, the innovative
and inspiring Voluntaries. Voluntaries are free ranging organ improvisations, and Voluntaries
takes the dramatic, religious intensity of the music as its impelling
force. Glen Tetley, the choreographer, states that 'the Latin root
of the word can also connote flight or desire, and the ballet is conceived
as a series of linked voluntaries'. The staging is dominated by what
appears to be either a very large ovum or a distorted Damien Hirst
spot painting. Either interpretation would suit the modernity and
sexuality of this piece. The corps and the principals excel, both
dramatically and technically. The elegiac notes of the organ seem
to energise the dancers, and the repeated movement phrase is sinewy
and thrilling. Couples intertwine and seperate, a slick of limbs that
fill the stage with a white light. This is at times a very definitely
masculine piece, and the male solos were particularly raw and impressive.
However, the cental theme of the principle couple, subsidary pair,
and six supporting couples, and their subtle interpretation of the
music, underpin the ballet with both a radiance and pain that is compelling. Etudes is a cheeky, exhilarating demonstration of dancing.
The ballet is built around the five basic positions of the feet, that
are the basis of movement. From the youngest pupil to the most experienced
dancer, all start their warm up with these exercises. The simplicity
of the costumes - plain white tutu's - and the set - first of all
a barre, which was later taken away to leave the stage bare - emphasised
the 'back to basics' approach. The corps filed on to demonstrate the
five positions, with a tongue in cheek seriousness. We were then taken
throught the alphabet of ballet, right through to Z, as the dancers
took the basics and developed them into exhilarating leaps and pirouettes,
demonstrating strength, line and speed to perfection. The effect was
dazzling and exciting, and the dancers seemed delighted to show off
what they could do, free from the superfluous trappings of narrative
and design. The athleticism, grace and drama of ballet were given a stunning exposition last night by the ENB. It is difficult to find fault with the corps, principles or staging. The orchestra played like demons, (and I would like to mention especially the Percussion section, Polly Chimes and Kevin Nutty, for their wonderfully apt names and frenetic playing.) With the triple bill, the ENB provided three times as much excitement and splendour as anyone could hope for on a gloomy Oxford night. They continue tonight, and transfer to Swan Lake on Friday. Sarah Montgomery, 21 / 11 / 00
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