Revived from the ashes after a 28-year absence, London City Ballet makes a convincing return to the stage. Led by artistic director Christopher Marney, the dancers range from new graduates to one of the world’s leading ballerinas (Alina Cojocaru, guesting for these London dates), performing revivals of lost works and brand new commissions.
This is a 21st-century rebirth, but the dance itself isn’t going hyperspeed into the future – and that’s not a criticism. Arielle Smith’s new commission, Five Dances, is a good example. Set against saturated colours of tangerine and vermilion, it is easy-paced and un-showoffy, not tangled in technical trickiness but made with a cool, light touch, leaving space for the dance in a way that’s refreshing.
In Marney’s own piece, Eve, again the choreography is not madly modern, but not the same old, same old either. Former Ballet Black star Cira Robinson is the titular first woman, and this is a really intriguing take on her story – less fallen woman, more person of agency opening her eyes to the world, finding affinity with nature. When Eve dances with the Serpent (Álvaro Madrigal) their connection is curious, compelling and sensual.
Previously performed only once, in 1972, Kenneth MacMillan’s Ballade is a contrast to some of his famously torrid and tragic ballets. Dressed all in white, with clarity in the neat steps, it’s a quartet of hopeful beginnings, apparently inspired by MacMillan and his wife’s first date. Cojocaru is the sole woman, courted by three men in gentle competition (Mamma Mia! vibes), who raise her aloft like a cherished creature.
All that’s really missing, in some of the younger dancers, is the presence and artistry that comes with experience. In the slow, exposed pas de deux from MacMillan’s Concerto, the lines are perfect, but you need to fill Shostakovich’s music with movement – and stillness – that shimmers and glows, like the giant sun projected on to the backdrop. Similarly, Ashley Page’s tutu ballet Larina Waltz is nicely danced, but lacking the big personalities this gala piece was originally made for. It’s a first outing though, and there’s one young dancer who really makes a mark, the Brazilian Arthur Wille, who flies and skims with speed and finesse. We’ll be seeing more of him. And this company too.
• At Sadler’s Well until 14 September; then the Joyce theatre, New York, 17-22 September
