Review of ‘Body & Soul’ (Sadler’s Wells, 2026): “Spirited performance requires slightly better handling”

The English National Ballet presents this experimental production featuring two concepts by choreographers Crystal Pite and Kameron N. Saunders. Guillermo Nazara shares his views on the show to let us know if this mixture of classic and modern dance reaches its plié-nitude.

Droite, gauche. Droite, gauche. Droite, gauche… The low whispers of a disembodied voice travel across the Sadler’s Well’s stage, as two dancers swing violently- left to right, right to left -to the hypnotic cadence of this alternative soundtrack, almost as if possessed- trapped, if you wish -by its intoxicating allure. We can’t quite understand what’s going on. We can’t explain it either. Yet, one thing is for sure — something pulsates within it, and its resonance can’t go unheard.

Body & Soul opened this Thursday to the confused amazement of a nonetheless persuaded audience. A double-bill act featuring the creations of renowned choreographers Crystal Pite and Kameron N. Saunders, the performance presented two vivid concoctions that merged classical and modern techniques with avant-garde storytelling, both brimming with thematic sensuality and an overall impassioned execution.

A commitment to experimentation, the production flaunts its edge through a convoluted appearance, where structure is replaced by a creative tremor. Impulse takes over. And as a result, everything that comes after teems with rawness and viscerality, especially during the first half.

Crystal Pite’s work is imbued with confidence and resourcefulness. We do not know where she is taking us, but we are reassured to embark on that journey. As we do, we plunge into a universe of black-and-white imagery, which is infused with danger, mystery, and eroticism. There is no logic to it — only feeling. And its impact solidifies incredibly fast.

The entire troupe delivers the piece with ample competence. And although the corps loses part of its cohesion during the most demanding group segments, the sense of togetherness prevails. The soloist renditions demonstrate technical flawlessness for the most part, which is supported by the additional flair and rapport most dancers exhibit. The highest praise is earned by Sangeun Lee and Rentaro Nakaaki for their compelling ease and refreshing instinctiveness.

Act Two welcomed Saunders’s eclectic opus, Proper Conduct. Albeit it is tonally tamed in comparison to its predecessor, a few fervent strokes still pervade its less piquant flavour. However, most sections come across as half-resolved and underexploited, building a promise that eventually doesn’t follow through. None of the moves displays the same dazzle or intuition as Pite’s counterpart. And consequently, some decisions look either slightly lazy or clueless — and sometimes both.

It still is an enjoyable watch, and Kimie Nakano’s eye-striking design, evolving from the abstract mystique of a deserted black box to the somewhat splendour of a diaphanous all-white futuristic space, contributes to that effect enormously. So does Joshie Harriette’s wide-ranging lighting, blending naturalistic elements with touches of surrealism, all steeped in ambience and musicality.

Once again, the company delivers with plentiful adroitness. Yet, the interpretation doesn’t convey the same level of command and, above all, unity that the first half constantly regaled us with. Inevitably, its endurance can only go so far. And although some excerpts are memorable, there’s often very little punch to them.

There is heart. There is intellect. And at some punctual moments, there’s brilliance. Body & Soul is an act of love to the art form. And for that, it should be lauded. Despite not being the best proposal the English National Ballet has offered us recently -a long track of triumphs can make up for a sporadic lower score-, the germ of a special confection still lingers throughout the whole performance — sometimes, to the point of flourish.

All pictures credit to ASH.

Body & Soul plays at London’s Sadler’s Wells until 28 March. Tickets are available on the following link.

By Guillermo Nazara