Incredible dancing. Intense storytelling. Totally immersive. English National Ballet’s new Giselle by Akram Khan is an epic dance experience. Everything about Akram Khan’s Giselle is so inspired that, after joining an elated audience in a lengthy standing ovation, I left Sadler’s Wells utterly convinced that no words will ever do this masterpiece justice.
The company, under the direction of Tamara Rojo, is intent on evolving the art of ballet. While still honouring the classical tradition (the dancers begin their Nutcracker season at Milton Keynes Theatre next week), English National Ballet is adding amazing diversity to its repertoire with fresh new works. Following the resounding success of Dust, his piece for the Lest We Forget programme, anticipation has been sky-high for Akram Khan’s Giselle.
In short, Akram Khan’s Giselle is a triumphant re-imagining of the 1841 Romantic Era ballet. All the essential themes — love, betrayal, revenge, the opposing realms of life and death — remain but Khan’s vision teases out the dark undertones that have always been there. Dragged to the surface, these elements are expressed with visceral urgency, arresting intent and harrowing sensibility.
Acclaimed choreographer and theatre/television director Dame Gillian Lynne is a legendary figure in the arts, with a career spanning more than 70 years.
Her achievements include being a ballerina with Sadler’s Wells Ballet (now The Royal Ballet), performing centre stage as the London Palladium’s lead dancer and choreographing some of the world’s most iconic musicals.
Georgina Butler made the most of an opportunity to converse with this multi award-winning dance superstar…
Gillian Lynne is a household name — a VIP in the world of dance and theatre. Her CV is packed with soloist roles as a ballerina; guest appearances as a dancer on the stage and on television; and countless productions on which she has worked her magic as an internationally sought-after director and choreographer.
Joining the Ballet Guild in 1942, aged 16, marked the beginning of Gillian’s career as a professional dancer. By chance, Ninette de Valois, the founder of Sadler’s Wells Ballet (which later became The Royal Ballet), saw Gillian dancing as Odette in Ballet Guild’s production of Swan Lake and immediately decided she wanted the talented young artist in her company. When Gillian accepted this invitation, she was the first dancer to join Sadler’s Wells Ballet who had not studied at its prestigious feeder school (now The Royal Ballet School). Possessing a gift for dancing; a desire to follow her dreams; and a tenacious work ethic, Gillian flourished as a ballerina and was later an instant success at the London Palladium and in subsequent roles in the West End.
Perhaps most famous for her ground-breaking choreography in Cats and The Phantom of the Opera (both with Andrew Lloyd Webber), Gillian has choreographed or directed over 60 productions in the West End and on Broadway. These productions have won numerous accolades and Gillian has been presented with multiple awards, including two Olivier Awards — one for Outstanding Achievement for her choreography of Cats in 1981, the other a Lifetime Achievement ‘Special’ Olivier presented to her in 2013.
Awesome and absorbing, Lest We Forget makes for an evening to remember
Dance may be the most transient of mediums but English National Ballet’s emotive Lest We Forget will forever remain with audience members privileged to see the award-winning triple bill at Milton Keynes Theatre last night.
Commissioned to commemorate the centenary of the First World War, this mixed programme of profoundly powerful pieces of contemporary choreography astounded fans and critics alike when it premiered in London at the Barbican in 2014 and during its recent revival at Sadler’s Wells. A huge departure from the traditional classics that theatregoers associate with English National Ballet, ‘Lest We Forget’ marks artistic director Tamara Rojo‘s boldest move so far.
Inspired by the loss, longing, pain, sacrifice, strength and sadness evoked by war, Lest We Forget reflects upon the experiences of both the men who went off to fight and the women who were left to keep the home fires burning. Liberated from the conventions of classical ballet technique, English National Ballet’s dancers effortlessly embody the approach to movement taken by each of three of today’s most celebrated British choreographers: Akram Khan, Russell Maliphant and Liam Scarlett.
Theatregoers in Milton Keynes are in for such a treat this October as English National Ballet is bringing not one but two award-winning productions to the new city. Whether you are a dedicated dance fan or simply interested in enjoying a beautifully performed work of art, you will not want to miss out on seeing the Company during its autumn visit to Milton Keynes Theatre.
Artistic director Tamara Rojo is committed to showing that there is more to ballet than the tutu-clad ballerinas featured in the classics. As the driving force behind the Company and a prima ballerina herself, Tamara is intent on advancing the art form in order to keep it relevant, interesting and alive for future generations to enjoy. The reflective triple bill Lest We Forget is her first new commission for English National Ballet. Created to commemorate last year’s centenary of the First World War, this contemporary programme features the choreography of three of the most in-demand British dance-makers of today.
Romeo & Juliet is undeniably the world’s greatest love story. Rudolf Nureyev’s landmark production for English National Ballet was devised in 1977 to celebrate the Queen’s Silver Jubilee. It premièred at the London Coliseum on 2nd June 1977 and won the prestigious Olivier Award for Best Ballet Creation that year. The Company has since performed Nureyev’s production around the world (373 times!) to critical acclaim. Demonstrating the expressive artistry and explosive virtuosity of the Company’s dancers, Romeo & Juliet is a beloved masterpiece from English National Ballet’s repertoire which promises to prove popular with balletomanes and newcomers alike.
English National Ballet’s Lest We Forget is ambitious and astounding.
English National Ballet’s Lest We Forget is a poignant reflection on World War One. It is dimly-lit, intensely affecting and profoundly powerful. As a theatrical experience, it is majorly melancholic since haunting hopelessness, deep despair and the painful reality of lost lives permeate all three of the pieces in the programme. Nonetheless, the atmospheric compositions and admirable quality of dance readily raised my spirits when I watched this week’s London revival of the production at Sadler’s Wells.
When it premiered at the Barbican in 2014 as part of the First World War centenary commemorations, Lest We Forget marked a defining moment for English National Ballet. No longer was the Company simply synonymous with the classics and tradition. Just as dedicated dancer and driven Artistic Director Tamara Rojo promised it would, English National Ballet was vehemently taking strides to secure its future and reach new audiences by demonstrating how ambitious collaborations can push the boundaries of ballet, dance and art.
English National Ballet’s Lest We Forget was conceived by combining the contemporary technique of three exceptionally sought-after British choreographers with the technical prowess and keen appetite for learning that English National Ballet’s classically-trained dancers possess. Dance-makers Liam Scarlett, Russell Maliphant and Akram Khan introduced the Company to new ways of moving, thinking and communicating – resulting in a triple bill of stirring works that astounded audiences, critics and even the cast members themselves.