We have Sir Frederick Ashton to thank for the “English style” of ballet: its elegant precision, lyricism and keen musicality. Ashton’s lightness, deftness and the sparkling repartee of his footwork is much in evidence in this triple bill launching a four-year global celebration of the choreographer’s work, 120 years after his birth.
The choreographer’s output was huge: more than 100 ballets across seven decades. Here are just three of them. Les Rendezvous, from 1933, hasn’t been danced for nearly 20 years. This revival is redesigned by Jasper Conran with restrained beauty and four buttery yellow dresses that would make some bridesmaids very happy. Its al fresco setting makes it like a garden party in a world of polite privilege where everything is just delightful. Marianela Nuñez looks like she might pop with joy as she swirls past a princely Reece Clarke. But underneath the genteel surface is a tapestry of patterning and invention and quietly athletic feats. While much modern ballet gives us legs and bodies at extravagant angles, with Sir Fred it really is about the steps: the feet are always tapping or humming or busily beating along with the melody.
