Tag: ballet

Chloe Keneally as Odette in Swan Lake at the English National Ballet.

IN CONVERSATION WITH: Chloe Keneally

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We had an exclusive chat with Chloe Keneally, the first artist of the English National Ballet. Chloe originally performed My First Ballet as a student and had the opportunity to return to this production, this time as a Company dancer. As an advocate for ballet and accessibility, Chloe hopes this show continues to inspire younger generations to appreciate theatre and dance.

What was the most exciting or challenging part of performing in My First Ballet: Swan Lake?

I was lucky enough to have had the role of Odette in this production created on me when I was at ENBS as a second year student. I was really excited and grateful to have been asked to perform this same production last year with a few of my colleagues and the dancers at ENBS. It was one of my favourite experiences when I was a student, so to be able to do it again as a professional was really special for me.

How does it feel to bring such an iconic ballet to life in a way that’s tailored for young audiences and families?


It was such a rewarding and fulfilling experience to perform for a younger audience who mostly were experiencing their first ballet performance. You experience their reactions as you’re dancing and telling the story on stage. Their excitement and energy fill you and it becomes a collective experience. After the show, hearing the impact it had on them is such a fulfilling and rewarding moment as a dancer.

How did you prepare for the physical and mental demands of this production?


The rehearsal process is always really special to me as I love the safety the studio provides when trying new things and experimenting in order to grow. I also rehearsed with Fernanda Oliviera and Erina Takahashi throughout the rehearsal period which I will always be grateful for. They both have performed the full-length version many times and have been coached by some of the greatest and most influential people in this industry, so to have their knowledge and experience passed down to me was one of my favourite parts of this whole process.

Can you share a favourite moment from rehearsals or performances that has made this experience special for you?


One of the things that I love most about performing is that every show is so different, you are able to find and share little moments with people on stage that are always unique and happen organically. It was also really special sharing the stage with the beautiful second year students and having that full circle moment from the last time I performed this as a student and the journey I’ve been on (and am still on!) since then as a professional.

How do you hope My First Ballet: Swan Lake will inspire the children and families who come to watch it?


I hope that these performances will inspire another generation with a love of ballet and the art form of dance, but ultimately the impact theatre and live performances has on us.

ENB My First Ballet: Swan Lake will be playing at the Peacock Theatre from the 16th – 27th of April 2025.

Visit http://www.ballet.org.uk for tickets

REVIEW: HERE & NOW

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Rating: 4.5 out of 5.

“Truly captivating and stunning take on modern ballet.”

McNicol Ballet Collective’s latest programme, HERE & NOW, celebrates the company’s fifth anniversary with a compelling mixed bill of five works. The evening featured standout excerpts from existing pieces alongside a world premiere choreographed by Andrew McNicol, set to an original score by Jeremy Birchall. Act 2 included a behind-the-scenes video offering a glimpse into the creative process, showcasing how McNicol and Birchall collaborated to ensure the choreography was deeply attuned to the music.

Each of the five works had a distinct style, supported by thoughtful choices in costume, music, and lighting that set the tone for each piece. The inventive costumes by Louise Flanagan underscored the contemporary take of the programme while remaining practical, allowing full freedom of movement and accentuating the dancers’ form. Lighting by Yaron Abulafia enhanced both the atmosphere and the choreography, casting the dancers in a way that highlighted their physicality and expression. Music played a central role in programme, with live musicians delivering a beautifully nuanced performance that added depth to the show.

Though still a relatively young and small company, McNicol Ballet Collective is undeniably punching above its weight. The dancers performed with both confidence and joy, shining in solos and pas de deux alike. They moved with the cohesion of a long-established ensemble, as opposed to eight dancers who had previously danced with leading companies worldwide. At times, the dancers fell slightly out of sync with the music, though such moments were rare.

With a diverse and beautifully executed programme, HERE & NOW is a must-see for anyone who appreciates dance and live performance.

Image Credit: Isabella Turolla

IN CONVERSATION WITH: Haruhi Otani

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As part of its 75th Season, English National Ballet returns to Sadler’s Wells, London, with The Forsythe Programme, a triple bill highlighting the work of acclaimed choreographer William Forsythe. We sat down for a quick conversation with Haruhi Otani, ENB Soloist, about The Forsythe Programme.

How would you describe William Forsythe’s choreographic style? How does it challenge you as a dancer?

I would describe Forsythe’s style as ground-breaking, like moving outside of a box. It’s not about sticking to the traditional framework of dance. I feel constantly challenged to rethink the limits of my movement, and how much I can expand my body. I think about William Forsythe’s choreography as a bend of architecture and science: we’re constantly building something new through experimentation. This process is never static and it’s always evolving – when you’re twisting or moving in certain ways, you’re constantly wondering “What will happen if I try this or that?” That keeps the process so exciting and challenging! It’s about exploring new ways to push your body further and unlock your mind. You really need to think and play with the possibilities of the movement.

Can you share a particular moment or performance that stands out to you while working on a Forsythe piece?

We get to laugh a lot during rehearsals, especially when we fall. Working with Forsythe is such a playful experience, and we push ourselves so hard that sometimes we end up falling to the floor. Of course, we are careful enough not to get injured, but we bring a child-like playfulness to the studio, with more freedom to expand our limits. It’s a special part of the whole process.

How has your understanding of classical ballet evolved since working with Forsythe’s works?

After this time in the studio with Forsythe, I’m definitely more aware of how I can make my body even bigger, while paying more attention to details: how my hands and fingers move, how twisting the head brings a new quality to the movement…

But also, the music. Forsythe’s choreography and the music and intricately linked. It’s not just about following the rhythm, but how to use the body in response to the music, and listen to every single detail of each tune. As he encourages us to push the limits, exploring every angle and possibility, William is also very open to dancers’ interpretations of the music.

How do you feel when you see audiences reacting to Forsythe’s works, considering how innovative and complex they can be?

I always cherish the last time we performed Playlist (EP) at Sadler’s Wells in 2022. There was a moment when the audience started cheering and screaming when we were dancing, just like in a concert! It was incredible to feel the energy between us and the audiences, that sparkling connection. That truly shows how powerful Forsythe’s work can be. The whole experience is very inspiring, and there’s a beautiful exchange between William and the dancers. I think audiences truly feel that exciting energy too!

What advice would you give to a dancer interested in working with Forsythe’s choreography?

When you’re working on Forsythe’s choreography, it’s all about finding a balance between pushing yourself and finding comfort in the movement. It’s not about feeling overwhelmed by its complexity, but exploring how to make it work for your body. Some movements may be harder than others, and that’s okay. It’s an exciting process to find your own way of executing them — twisting your body or adjusting your head, for example — to make the movement feel more natural for you. Forsythe’s work really invites you to make it your own, which is part of the beauty of it. The process is about exploration. Once you find that balance, the joy of dancing Forsythe’s work shines through.

So my advice would be to really explore and enjoy the process. Don’t be afraid to experiment, even if the movements feel difficult at first. Every body is different, and the way you approach a movement will be unique to you. Embrace that uniqueness. It’s all about playing with the limits of your body and discovering new possibilities!

Get tickets to The Forsythe Programme at Sadler’s Wells Theatre 10 – 19th April 2025 here

REVIEW: Balanchine: Three Signature Works

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Rating: 5 out of 5.

The epitome of beauty, grace, and art come together in this triple bill of Balanchine’s timeless choreographies — another triumph for the Royal Ballet.

On the 28th of March, the Royal Ballet premiered ‘Balanchine: Three Signature Works’ on the Main Stage, a production celebrating the iconic choreographer George Balanchine, one of the greatest influences on both American and international 20th-century ballet. Part of the ‘Dance Reflections’ by Van Cleef and the Arpels Festival, this opening night also paid tribute to Patricia Neary, ballerina and muse of ‘Mister B’. Having started her career with Balanchine at the New York City Ballet in 1960, she went on to become a choreographer and ballet director in her own right. As the only remaining direct link to Balanchine and his visions, Neary has served as an ambassador for the Balanchine Trust and artistic director of his works for six decades. Once again, she has created a sensation for the Royal Ballet, bringing her deep understanding and passion for Balanchine’s style to this exceptional performance. Under her guidance, the company presented three of Balanchine’s most celebrated works, each one a testament to his genius and enduring legacy.

Opening the night with Serenade — the ballet that marked Balanchine’s debut in America in 1935 — the Royal Ballet unites in transcendent beauty from the very first moment. Set against a clean, sky-blue-lit backdrop, the dancers command the stage in simple yet elegant pastel-blue skirts, their movements flowing effortlessly to Tchaikovsky’s Serenade for Strings. In this piece, the corps takes centre stage, showcasing their brilliance as a collective. A play with symmetry and asymmetry in breathtaking constellations demonstrates the competence and outstanding skill throughout the company. Every movement is a visual feast, and as the dancers mould their bodies beyond the limits of grace, you can’t help but think: true beauty has been acquired tonight!

Two things separate this unique dance piece from previous classical ballets, and are found throughout all three works of the night: the impressive acrobatic aspect of the choreography, and its distinct embellishments. In this case, it is reflected through the authenticity of the original dancers’ real-life errors, which Balanchine incorporated into the final choreography. These imperfections add an original and organic quality to the piece, becoming a testament to the choreographer’s innovative spirit. The principals Lauren Cuthbertson, Mayara Magri, and Melissa Hamilton crown this piece alongside William Bracewell and Ryoichi Hirano in this visually stunning serenade.

Prodigal Son –– Balanchine’s 1929 choreography for the renowned Ballets Russes –– takes the stage after the first interval. In the New York City Ballet’s original costume and set from 1950, this avant-garde ballet retells the biblical parable of a defiant son who departs on a reckless journey where he indulges in sin and decadence –– represented by a seductive siren –– before he ultimately returns with repentance to his father. With music by Prokofiev, a timeless yet bold, inventive and somewhat provocative performance unfolds. Cesar Corrales embodies the Prodigal Son with remarkable depth, expression and vulnerability, while Natalia Osipova’s portrayal of the Siren becomes a force of nature, convincing in her seductive, manipulative and powerful presence. Together, they form a captivating dynamic, bringing the story to life with intensity and precision.

Symphony in C brings the evening to a grand close, set to Bizet’s composition of the same name. Divided into four movements, this monumental work gathers nearly the entire company with its principals in a culmination of talent and excellence. Fumi Kaneko partners with Vadim Muntagirov for the first allegro; Marianela Nuñez and Reece Clarke deliver a beautifully executed adagio; Anna Rose O’Sullivan and Daichi Ikarashi take the stage for another ‘spirited allegro’, and Leticia Dias joins Joseph Sissens for the final allegro. The performance concludes in a vibrant and exhilarating finale, underscoring the Royal Ballet’s unmatched and absolute prowess. The curtain call is met with thunderous applause, and as Neary herself steps onto the stage in a shimmering evening dress, a fur draped over her shoulders, roses rain down from the upper circles.

The evening was a stunning reflection of both Balanchine’s revolutionary approach to dance and Neary’s devotion to preserving and passing on his vision. Audiences were treated to a breathtaking display of technical brilliance, emotional depth, and timeless elegance that Balanchine’s choreography embodies, solidifying this production as a memorable and historic moment in the Royal Ballet’s season; I fear it may be some time before I witness a performance of this calibre again.

The performance will run till the 8th of April. You can find more info and purchase tickets here.

REVIEW: Outsider

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Rating: 4.5 out of 5.

A feat to witness, Outsider displays incredible athleticism and enrapturing choreography 

Various slacklines cut across the stage, tightropes that give the production a new sense of height. They stay there, unused but looming, as twenty dancers from Ballet du Grand Théâtre de Genève perform below. Their presence creates an atmosphere of tense apprehension, further entrenched by composer Julius Eastman’s music; four pianos that seem to rally each other, their anxious desire for something both tantalizing and breathtaking. Outsider was performed as part of Dance Reflections by Van Cleef & Arpels Festival at Sadlers Wells.

Choreographer Rachid Ouramdane makes incredible use of simple, repeated movements to create a maze of bodies. The dancers weave in between each other with awe-inspiring ease and speed. Reminiscent of bees, perfectly in tune with one another, the dancers flip between partners, run simultaneously through what seem to be invisible lanes, and move with such intricate timing that they appear as one single organism. No dancer can exist in this world alone — they are all a product of their shared work. Truly, only at infrequent, short intervals do any dancers occupy the stage in isolation, and when they do, they appear to be in peril. They are stuck, spinning, yearning, until they are joined by another, wherein they reconnect and commence their journey once more. Partner work is imperishable in this world. Dancers consistently find one another and move together like honey. Their partnerships seem so natural, so smooth, that they appear almost liquid. Partners are interchangeable but ultimately invaluable and exceed pairs. They consistently form groups, performing incredible feats that push dancers to reach the higher echelons of the stage, reaching for what is above. 

Ouramdane’s choreography embodies athleticism beyond its usual inferences in dance. Linking ballet to the high performance athletes that occupy the stage’s sky, the choreographic language feels athletic to its core. Dancers truly run across the stage, they hoist other dancers to shockingly unexpected heights, displaying the incredible strength and speed that the public typically does not associate with dance. When the athletes ascended to their tightropes, the audience seemed to hold their breath. The dance that is their balance ties the piece together and illuminates the dancers’ desire to reach said heights. Their yearning for what occurs above becomes clear and gives new meaning to the production. The athletes on their tightropes are folded further into the story as they begin to interact with the dancers below, seemingly providing them a perhaps false hope that they too can ascend to the sky like they have. 

The enjoyment of Outsider exists beyond watching incredible athletes and dancers perform beautiful choreography. Its message has the potential to mean many different things to many different people, depending on what space you occupy within your own world and community. What are they reaching for? What exists up there? What keeps the masses from achieving their own ascent?

Dance and live music beautifully intertwined in an intimate setting

REVIEW: Close Up

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Rating: 3 out of 5.

Dance and live music beautifully intertwined in an intimate setting

“Close Up” by Noé Soulier is now showing at the Royal Opera House as part of the London Dance Reflections by Van Cleef & Arpels festival. Featuring six dancers and five musicians from the baroque ensemble Il Convito, the piece delves into the intricate
relationship between movement and live music.

The 75-minute performance is divided into two distinct parts, with the second emerging as the highlight. In this latter section, Soulier presents an innovative choreographic concept, using video to isolate and emphasise various body dimensions in motion. This inventive approach evoked the feeling of an art installation, allowing the audience to focus on the subtleties of movement that might otherwise go unnoticed.

Both pieces also incorporated loud exhalations by the dancers during specific movements, perhaps intended to underscore the quality or intensity of the movement. However, this artistic choice felt overused and didn’t significantly add to the performance. I also wondered whether this effect was perceptible to audience members seated further back in the theatre.

The highlights of the program were the musicians and dancers. While it is an interesting choice to dress the dancers in loose t-shirts and denim jeans, this does not restrict their movements. They particularly excelled in the choreography that balanced fluid, supple movement with sharp, staccato precision, demonstrating both the control and versatility of the dancers.

If you’re drawn to innovative works that invite you to focus on the finer details of dance, this performance will likely resonate with you.

Merce Cunningham’s choreography remains timeless, a vision that still feels boldly ahead of its time.

REVIEW: Merce Cunningham Forever (BIPED and Beach Birds)

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Rating: 4 out of 5.

Merce Cunningham’s choreography remains timeless, a vision that still feels
boldly ahead of its time.

There’s something surreal about watching work created decades ago and realising it still feels more modern than half of what’s being made today. That’s what struck me most during this evening of Merce Cunningham’s choreography—his work doesn’t age; it recalibrates time. Presented as part of the Dance Reflections Festival, Lyon Opera Ballet boldly paired two of Cunningham’s major works: Beach Birds and BIPED.

Beach Birds opens in near silence. The dancers—dressed in white and black, like a minimalist flock—move with a kind of quiet insistence. The pacing is slow, methodical, and yes, uncomfortable. Not in a bad way, but in a way that demands your patience, drawing you into its world inch by inch. It’s a length that almost presses in on you, creating something intimate and a little claustrophobic, as if you’ve wandered into a tide pool and can’t quite find your way out.

But it also has a strange peacefulness—like watching birds preen and shift at the water’s edge. The dancers don’t mimic birds exactly, but they suggest them: the angles of the arms, the tilts of heads, and the way gestures ripple through the group. What held me wasn’t the drama of any narrative—there isn’t one—but the way repetition became hypnotic. Time feels less linear, more like a gentle circle being drawn again and again. Then comes BIPED, and the shift is immediate. Gone is the natural stillness of the beach. We are thrust into something sharper, colder. Grids of light slice the stage, a sort of shimmering cage that both contains and transforms the dancers. Ghostly digital figures flicker and glide across the backdrop, mirroring the live performers, or maybe challenging them. It’s hard to tell.

This is where Cunningham’s genius really hit me. BIPED premiered in the late ’90s, but it feels eerily aligned with the digital present. There’s a tension between body and technology, between freedom and structure, that couldn’t feel more current. The choreography isn’t softened to make room for emotion; it’s structured, complex, and sometimes even mechanical. And yet, through that, something deeply human emerges.

The juxtaposition of these two works—one evoking the quiet rhythms of nature, the other the fractured speed of the digital age—felt deliberate and powerful. Together, they trace a kind of evolution, or perhaps a warning: from organic to artificial, from earth to code.

For someone who began choreographing in the mid-20th century, Merce Cunningham remains startlingly contemporary. His refusal to follow conventional structures, his use of chance, and his collaborations with technology all feel like they belong in the now. Or maybe even in the future.

As I left the theatre, I wasn’t thinking about nostalgia. I was thinking about how rare it is to encounter an artist whose work can still ask new questions decades after it was made. Cunningham may no longer be with us, but his choreography continues to move forward—restless, relentless,
and forever modern.

Credit: Yellow Belly

IN CONVERSATION WITH: Andrew McNicol 

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Celebrating the 5th anniversary of McNicol Ballet Collective, Here & Now will feature 8 dancers who will perform highlights from the company’s previous dance works, including the critically acclaimed Of Silence, Moonbend, and Bates Beats, alongside the world premiere of a new work, choreographed by artistic director Andrew McNicol and set to a new score performed live. A Youngish Perspective holds this exclusive conversation with Andrew McNicol.

What inspired you to create the Here & Now mixed bill, and how does it reflect the McNicol Ballet Collective’s fifth anniversary?

Here & Now is a real celebration, showcasing highlights from our repertoire to date, alongside a brand-new creation. The programme honours our past work and signals our ambitions moving forward, in terms of commissioning new music, utilising the ballet language and presenting high production values. It’s a snapshot of where we are after 5 years of creation. This is our opportunity to thank everyone who’s been part of our journey and to welcome new audiences and artists into all that we do. 

Can you share insights into the creative process behind the world premiere in Here & Now, including your collaboration with composer Jeremy Birchall and designer Louise Flanagan?

Jeremy and I first met in Chicago as we were both on the same programme at Joffrey Ballet and so we learned about each other’s work. Last summer, I invited Jeremy to be a mentor for a project the Collective launched, Compositions & Configurations. This project supported Composers and Choreographers to develop new work together. We spent a lot of time on that project, sharing thoughts about new music for dance. With this in mind, we thought it would be great to put all that learning into practise and create something new together.

Louise Flanagan has been an important collaborator from the early days. As a former dancer, she has a deep understanding about the nuances of designing for dance. Over time, we’ve developed a shared language that makes for an incredibly rewarding process. I’ll never forget some of the hilarious zoom meetings, trying fabric’s, testing ideas – it’s a lot of fun to work with Louise and her designs are always beautifully realised. I hope we have many more collaborations to come. 

How significant is it for you to perform in your hometown of Hull, and how does this influence the collective’s connection with its audience?

Hull has an incredibly history of success when it comes to dancers, directors and artistic talent. Many have gone on to lead some of the world’s major companies. I think it’s important to champion that. I’m proud that MBC is Hull New Theatre’s first associate company, (the theatre I first performed at age 6), it demonstrates our commitment to developing and sharing work together over the longer term. In November, we had an incredible week-long residency at their state-of-the-art theatre to test lighting ideas and production values. We opened up our process to local schools and organisations and the reception was fantastic. It’s this exchange and ongoing engagement through the creative process that is key for us and helps build meaningful connections and momentum. 

What do you hope audiences will take away from experiencing Here & Now, particularly with the blend of fan-favourite works and a brand-new creation?

I want audiences to have a really good time and leave the theatre wanting to come back to see more. This mixed programme offers a wide range in terms of music and highlights what ballet can look like today. Audiences will experience the brilliance, artistry and powerful physically of our extraordinary dancers and I hope, in some way, will be moved by the work that they see.

Given the challenges facing independent companies today, how has McNicol Ballet Collective navigated this landscape while continuing to create new work?

We’ve focused on being agile and streamlined, so that we can respond to opportunities that arise with speed, whilst continuing to work strategically for future success. We scale up or down our activities depending on the given resources and we place a lot of focus on partnerships to optimise resources and realise shared aspirations. 

Looking forward beyond this anniversary, what is your vision for the next chapter of McNicol Ballet Collective’s journey and repertoire development?

My vision is that the MBC establishes itself as a powerful partner and magnet for talent. (both on and off stage). Commissioning new ballet-based works with extraordinary collaborators will continue to be at the heart of what we do. Working towards developing full length productions, with international touring potential is something we are very interested in realising. 

Inspiring creativity and changing perceptions about ballet through our creative learning programmes will be a key part of our mission. Growing partnerships and collaborations with other organisations to extend the impact and reach will be an important part of our next chapter too! Onwards and upwards. 

Here & Now is touring at Hull City Hall (29 March), the Royal Academy of Music, London (5 April) and the Stanley & Audrey Burton Theatre, Leeds (12 April).

REVIEW: Giselle…

Published on by Lucy HolzLeave a comment

Rating: 4 out of 5.

The iconic romantic ballet performed like never before

Recently staged by English National Ballet, Giselle is considered the highest achievement in romantic ballet, remaining a popular fixture in repertoire lists of dance companies worldwide. But this performance is not of Giselle but of Giselle… – instead this story retraces the history and context of the famous piece through striking performance art. 

Part lecture, part retelling, this performance provides detailed background on the ballet and its connection to the art form. The result is a fascinating story of how Giselle is connected to the formation of modern ballet as we know it. Everything from ballerinas dancing en pointe and wearing tutus to male dancers acting as props to support the graceful movements of their female counterparts. 

Created by François Gremaud with dutch dancer Samantha van Wissen, this work is their second piece centred around tragic female characters in the classical arts. Once the lecture section of the piece is complete, van Wissen goes on to comedically orate the ballet itself, retelling the entire plot from start to finish with interesting facts and amusing pieces of dance and mime. 

A magnificent feat, van Wissen speaks and dances for nearly 2 hours, keeping the audience engaged with various techniques from jokes to audience interaction. Assisted by 4 onstage musicians, the performance is scored with music by Luca Antignani, based on the original Giselle score by Adolphe Adam. The musicians are spectacular, able to stop and start their pieces with perfect precision and unison even without a conductor. 

Performed entirely in French, the choice to not present the piece in English makes the content more challenging to absorb as an audience member. Although surtitles are provided for the majority of the text, they are often mistimed, either giving away a joke too early or providing it too late, after it has already been told. It’s difficult to fully appreciate the movements and expressions of van Wissen, as to actually understand what she’s saying the surtitles must be constantly monitored. 

There is no reference to the performance being entirely in French, which is a confusing choice as it has a profound impact on the viewing experience. At the conclusion of the performance the audience is gifted with a copy of the play text, which is also entirely in French. Although a nice souvenir, with a London-based English speaking audience, it would have made more sense to gift an English version by the surtitle translator Sarah Jane Moloney. 

Despite this, the performance is a fascinating deep dive both into Giselle and the ballet genre itself, and is a real treat for any ballet fanatic. This mischievous text is both humorous and informative, bringing together the musical and the theatrical in a riveting piece of performance art. 

REVIEW: Twice-Born

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Rating: 5 out of 5.

No work of art has ever compared to the magnificence of Twice-Born

Twice-Born is a masterpiece. From the mind of Dickson Mbi, this epic tale tells of another world where matriarchs are made through sacrifice. Set to Mbi’s original scores and performed by the dancers of the Scottish Ballet, it is a powerful tale that consumes the heart and mind.

When the curtain goes up, the audience is immediately thrown into the world of Twice-Born. A towering wall of rock looms large while a single dancer, faintly lit, lays at its base. This, and many of the striking visuals in this show are thanks to set designer Ruby Law, lighting designers Jessica Hung and Han Yun, and costume designer Debbie Duru. Laws’ set is indistinguishable from genuine stone, adding an impressive degree of realism. The lighting is so perfectly matched to the story that you often forget it’s there yet the show would be drastically different without it. At their base, the costumes were simple, their dusty crimson shade and draping silhouette added to the tribal atmosphere. As the show progressed, smaller design elements were added that altered the whole vibe; I don’t wish to spoil anything, but i must applaud the villainous masks for their striking beauty.

Dickson Mbi is a once in a generation talent. Not only did he conceptualize and direct Twice-Born, he also choreographed it and composed the scores. The story doesn’t feel like scenes strung together, but rather like a journey of the soul. Using tribal elements, his compositions are intense and powerful; they are the perfect soundtrack. His choreography clearly reflects his contemporary and popping background. The force and intricacy of the choreography is very visually impactful. He has crafted movement that embodies his story. His depiction of grief is the finest I have ever seen; haunting and tragic, I lack the words to explain its power but it will never leave my mind.

Scottish Ballet never disappoints with their incredible dancers, but Twice-Born may be the finest work they’ve ever produced. For what is a ballet company, there was an astounding amount of grit in their performance. They moved as one, giving the sense of a teeming tribal mass that was both frightening and thrilling. For a ballet company, they were amazingly un-pretty in the best of ways. Soloists Marge Hendrick and Rishan Benjamin were enthralling; they are the strongest of women and of dancers. Included in that appreciation must be the soloist who-led the sacrifice sequence, though I have been unable to find her name. While technically excellent, it was the depth of emotion with which they performed that makes them unforgettable.

To watch Twice-Born is to take your heart into your hands. You will experience emotion as you never have before; you will cry, you will sit on the edge of your seat, and you’ll even have to remind yourself to blink. It is a transcendent experience that stays with you long after it has ended. Dickson Mbi and the Scottish Ballet have gifted this world with Twice-Born.

It is not a show, it is a religious experience.