London City Ballet: Resurgence review – a glorious revival
Christopher Marney’s affection for the first incarnation of London City Ballet (founded in 1978) is shown in the vintage film clips that punctuate this programme, featuring plentiful footage of its one-time patron, Diana, Princess of Wales, in her big hair days, and headlines that chart the company’s closure in 1996, when the money ran out.
Such is the strength of Marney’s feeling that he has revived the company, and this inaugural touring programme is a judicious mixture of past and present. Resurgence features three historic revivals, a 2022 work and a premiere, all danced with brio and elan by a diverse group of dancers who look very much as if they believe in what they’re doing.
It opens with the breezy elegance of Ashley Page’s rarely seen Larina Waltz from 1993, full of snappy turns, twisty poses and fabulous jumps. There’s also a real rarity, in the shape of Kenneth MacMillan’s Ballade, to luscious Fauré, choreographed in 1972, shortly after MacMillan met his future wife, Deborah.
Each of three men seems to have a claim to a lone woman, and she seems fond of them all, until finally she chooses one, lying gently by his side. It’s a lyrical trifle, fascinating and fluid. At Sadler’s Wells, the woman is danced by guest artist Alina Cojocaru, who makes every movement meant. Later, there’s more MacMillan in the slow movement from his enigmatically lovely Concerto (danced with grave precision by Isadora Bless and Joseph Taylor).
Related: ‘Not just a diet of Swan Lake and Cinderella’: the resurrection of London City Ballet
Then, two contrasting premieres: Eve by Marney himself, to a commissioned score by Jennie Muskett, provides a jolt of expressionistic drama, while Arielle Smith’s Five Dances takes the music of John Adams and conjures a set of short episodes, lit in saturated berry-brights by Andy Murrell.
The dancers, in half-skirts, look like an enticing cross between nymphs and farmers; they saw the air with curved arms, or make little pecking movements and fleet jumps as they circle and whirl in solos, trios and a pensive duet for a couple in turquoise. It feels fresh and enticing – just like the company.
