Review of ‘R:Evolution’: “Bewildering journey through the genre’s past secures a shining future”

The English National Ballet starts its new autumn season through a wide-ranging array of styles exploring the transformation of dance across the years. Guillermo Nazara shares his views on the show to let us know if its style memorabilia is just as likely to be remembered.

It’s an unspoken secret that, when a show tries to please everyone, the result tends to be the exact opposite. But no rule is complete without its exception. And so, last night’s gala performance of ENB’s latest London production, R:Evolution, has gracefully positioned high up in that out-of-the-box category. A melange of styles ranging from lush classical renditions to avant-garde skits of mythical fantasy, this ornate tapestry of sound and images took audiences on a cathartic journey that brought flair, sumptuousness, and pizzazz to every number.

Inspired by the art form’s own transformation across history, this eclectic montage presented us with four different concoctions of contrasting nature. Tchaikovsky’s Theme and Variations opened the evening with a conservative take on the composer’s distinctively lavish score. Under choreographer George Balanchine’s traditional vision, this introductory piece acted as an emotional slow burner. Poise and technical correctness brimmed throughout the entire interpretation. Yet, an overwhelming feeling of safety blocked its ability to stir during the initial half, later overtaken by an exuberant, meticulously coordinated finale that allowed its grandeur to erupt.

Errand into the Maze greeted viewers back after the first interval. The opulent splendour of the show’s beginning was replaced by an intimate incursion into the surreal. The crystal-beam streams hanging from the rafters, accompanied by ocher floral-coated legs and a shining azure backdrop, had disappeared. And instead, a pitch-black moonlit ambience wrapped viewers into the uncanny allure of the night.

Moving to the pugnacious bars of Gian Carlo Menotti’s music (effused by G. Schrimer’s visceral arrangement), Emily Suzuki and Rentaro Nakaaki effortlessly transported us into this breathtaking reverie, fueled by danger, passion, and mystique. Although some excerpts were slightly stiff, their performance still exuded command and rapport, conveying an eye-catching display of tribal elements and evenly combining them with contemporary strokes of utmost finesse.

The raucous spirit of the 80s materialised through the Herman Schmerman Quintet. Dressed in butane unitards as Thom Willem’s fanciful composition played along, this droll but arresting execution came across as one of the montage’s greatest achievements — delivered with impeccable dexterity and the most compelling sense of togetherness all throughout, with both Rhys Antoni Yeomans and Alice Bellini making standout appearances thanks to their astounding precision and zestful energy.

Those who prefer leaving the best for the end will be happy to know that this production is faithful to that ethos. Consequently, their full-corps rendition of Richard Strauss’s Four Last Songs led to an explosion of pure theatrical excellence. An abstract design consisting of two stained tiled walls suspended in darkness, with a stormy black-and-white sky sliding in between, creates a pulsating universe where the mortal and the divine converge. Madeleine Pierard’s superb singing, displaying faultless phrasing and overflowing with heartfulness, only elevates the ethereal essence of the staging, fairly supported by David Dawnson’s sensual yet wholesome choreography.

Deftly conducted by Maria Seletskaja (with a special mention to Matthew Scrivener’s adroit violin solo), R:Evolution is an accomplished, intricate, and above all triumphant endeavour —where all its components blend seamlessly in an elaborate symphony of old and new. A gripping and visually captivating homage to the legacy of dance in its many shapes and understandings, the English National Ballet has welcomed the autumn season with a fresh, electrifying start that, despite its flaws, undoubtedly deserves to be added to the company’s list of tour de forces. Even when there was no soul, there was more than adequacy. And when there was soul, there were moments of utter perfection.

All pictures credit to ASH.

R:Evolution plays at London’s Sadler’s Wells until 11 October. Tickets are available on the following link.

By Guillermo Nazara