The Covid Diaries 66 – Sadler’s Wells/ENB, Reunion

A review of the English National Ballet (ENB)’s programme of short works at Sadler’s Wells. In which I am back at a live performance, and couldn’t be happier!

Reunited (With The ENB) And It Feels So Good!

Yesterday marked the first time I have been to a live indoor performance since December. Coincidentally that was also a ballet performance – The Nutcracker at the Royal Opera House. I’m not the most knowledgeable of ballet reviewers, but I am certainly enthusiastic! So please read on to find out more about Reunion, an English National Ballet (ENB) performance at Sadler’s Wells.

Reunion is a mixed bill of five short works. The ENB commissioned and filmed them during lockdown (they are available to watch here for a fee). Additional content was also produced for the filmed versions, which made for a really great format for the live performance: filmed interviews with the choreographer and dancers, followed by the piece itself, and then the next interviews during the set change for the next piece, etc. Most other reviews I’ve seen were by people who had seen the filmed versions and were now doing a ‘compare and contrast’ with the live versions. I had not, but the extra content helped me to fill some of the gaps and understand what I was about to see.

The works were all very different. Some were joyous, some were more sombre. Some were contemporary, some more classical. There were strong effects through lighting and props in some works, while others were more spartan. The audience were very receptive to all of these variations – there was applause and cheering at various points throughout the evening. It felt very special to be back in an audience, sharing a one-off experience with the performers and other guests. I wonder how long it will be until I take that for granted again?

Take Five Blues, Laid In Earth, Senseless Kindness

Take Five Blues was a great way to start the mixed bill. Choreographed by Stina Quagebeur, it features eight dancers in what feels like a metaphor for the evening. They play off each other, sometimes moving in unison, sometimes showcasing their own styles. Something about it reminded me of a flock of birds, where none of them are doing quite the same thing, but the overall feeling is of unison and harmony. It also felt like a codification of the creative process, like an extension of the experimentation and playfulness of the rehearsal room. I loved it, including the simple costumes and soft lighting. I was particularly drawn to the performances of Shiori Kase and Fernando Carratalá Coloma. Quaguebeur has herself danced with the ENB, and her knowledge of her colleagues shines through.

The next piece Laid in Earth (by Sidi Larbi Cherkaoui), is a real contrast. From what I can tell, this one is the most different from the filmed version, which had an elaborate set including earth-strewn floor. Here it is simpler, but very poignant, creating a sense of loss or sorrow. Precious Adams is a marvel to watch. The third and fourth works both make bold choices in lighting design. Yuri Possokhov has set Senseless Kindness to a work by Prokofiev. The stark changes in light and shadow had an almost architectural quality, but I felt the subtle costumes made the dancers less prominent than they should have been. It was a very elegant work nonetheless.

Echoes, Jolly Folly, and Final Thoughts

Likewise in Echoes by Russell Maliphant, the lighting and music are very strong; the dancers are merely one element of this tableau, rather than the main event. I have to say the costumes in this piece distracted me – the fisherman’s trousers (like this) had me thinking of capoeira for some reason.

The last work, on the other hand, had my full attention. Arielle Smith explains in the short intro that she had considered trying to create a profound reflection of the last year, but instead decided to make her piece a celebration. Jolly Folly is so much fun. It’s hugely physical, styled like a dance sequence in an old-fashioned film, and never takes itself too seriously. The dancers mention in the intro that it’s really difficult to perform in one go rather than split up for filming, and I can see why. But it is a wonderful way to end, and means that audiences leave on a high.

This was a great first night out post-lockdown. Sadler’s Wells are well-organised, the Front of House team friendly and helpful, and a mixed bill a good way to practise being an audience member again. I would highly recommend it, or checking out the filmed versions if you’re not quite comfortable venturing out yet (or are not in London!).

On its own merits: 4/5
Implementing Covid measures: 4/5

Reunion on until 30 May

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