★★★½

“It’s a slick and stylish production under the direction of John Hoggarth”

Kash and Mohsen are friends living in Oxford on the cusp of adulthood. Kash is a bit of a clown who loves to dance to the latest Punjabi music, Bob Marley and the Spinners. Mohsen is more academic and is more interested in getting into Oxford uni than getting his classmates to like him. But when the boys hear their classmate plans to throw a pool party there is one thing they agree on. They need to learn how to swim. Kash just wants to use it as an opportunity to flirt but Mohsen understands it as an opportunity to break stereotypes and learn a valuable life skill. For the sake of safety more than anything else he’s up for the challenge.

Brown Boys Swim is a classic story of contemporary British cultural dislocation. The boys are torn between their religion and islamic identity, and the ways and mores of their school mates. They bond over their trips to the mosque, fantasizing about their future wedding ceremonies and what sweets their mums’ have made for Eid. But where they clash is over whether and how to conform with their peers; from growing beards to at the extreme drinking alcohol.

It’s a slick and stylish production under the direction of John Hoggarth. James Button’s set is simple yet versatile. With just a couple of benches and some strip lights the boys move from school to the mosque, gym to the pool. Where the set and props are multipurpose, the costumes are multitudinous – with almost every scene requiring a different outfit. Each transition of set and costume is done intentionally by the actors on stage – wonderfully choreographed in synchronicity by movement director Sita Thomas. Roshan Gunga’s sound design is outstanding – particularly the scenes of the boys at the leisure centre pool where every movement of an arm or a leg is matched by a splashing sound – an impressively evocative feat.

“They play with every splash of humour and heart they’re given in Karim Khan’s script”

All this style is so noticeable because the changes in scene are too frequent and too many – stilting the drama and stopping the characters achieving any real depth. Each time Kash and Mohsen reached an impasse, which happened too quickly and too often to be believable, the scene would end, the set and costumes would very beautifully change, over a minute would go by and then the next scene would start, in a new location with the previous disagreement squashed and forgotten about.

Kashif Ghole and Ibraheem Hussain as Kash and Mohsen gave strong performances. Even more impressive given both actors have only graduated drama school this year. They play with every splash of humour and heart they’re given in Karim Khan’s script. Kashif Ghole is totally endearing, cracking jokes whilst revealing a youthful vulnerability. Ibraheem Hussain gives us a tough exterior that hides some insecurities, but relaxes and warms when mucking about with his friend. The boys portrayal of adolescent friendship is charmingly truthful, and it’s a credit to their performances that the ending is unexpectedly moving.

Despite the committed and impassioned performances and high production value, the lack of depth in the dialogue put constraints on this show’s capacity to really allow the audience to be drawn in to the drama.

BALLET NIGHTS at the Lanterns Studio Theatre

★★★★

“It’s a privilege to be this up close and personal to such exceptional dance talent”

In London’s docklands, nestled between high rise blocks of flats, is a rather unremarkable building, only conspicuous for its brick exterior next to the glass and chrome of its neighbours. But for six nights this autumn, the Lanterns Theatre plays host to the ‘world premiere’ season of Ballet Nights, promising to be quite a spectacular string of classic and contemporary dance performance from established names and new voices.

Jamiel Devernay-Laurence’s ambitious variety show concept isn’t quite intuitive to grasp. Is it a way to continue working for some of ballet’s recent retirees? Is it a showcase of new work from up and coming choreographers? Devernay-Laurence’s slightly jumbled delivery as compère for the evening doesn’t clear things up much. Star names like Steven McRae might be the draw for many, but the new works are just as exciting and all the more intriguing.

The seating in the studio theatre means no member of the audience can be more than 20 metres away from the performers. It’s a privilege to be this up close and personal to such exceptional dance talent – seeing the sweat forming on backs and brows, hearing sharp intakes of breath and deep, lengthy exhales. But it’s the facial expressions that are most arresting.

Performers from the Royal Ballet prove why they command the awe and praise of the dance world. Melissa Hamilton, first soloist with the Royal Ballet, is a revelation opening and closing the programme. The expressiveness of her interpretation of Mikhail Fokine’s Dying Swan moved me to tears – her darting eyes full of fear and incomprehension at the death that’s to befall her. Performing Kenneth MacMillan’s Concerto with Reece Clarke, their lithe limbs find infinite extension. Steven McRae oozes cool with Czárdás, a tap number performed in concert with guest violinist Vasko Vassilev and house pianist Viktor Erik Emanuel. McRae owns the stage and he knows it – with just a ripple of his fingers you read his machismo, strength and daring.

“a uniquely intimate experience with truly extraordinary dancers”

This first programme from Ballet Nights has a lot to offer and there are new works from choreographers Gavin McCaig, Jordan James Bridge, and Peter Leung of New English Ballet Theatre. These all bring excitement in their originality and performers expertise. Taylor and Nunes dart across the stage together, with Nunes linking an impressive number of chaîné turns to set the starting gun in McCaig’s You Will Get Your Wants. Jordan James Bridge’s musicality is spellbinding, seamlessly blending classical traditions with hip hop and club dance movements in a way that was truly bewitching.

There are some clunkier moments. Isadora, presented by Yorke Dance Project, is a strange piece to showcase with the lack of narrative in such a short extract making its distractingly sexual choreography feel gratuitous – the dancers themselves looked a bit sheepish when time came for their bow. House pianist Viktor Erik Emanuel, performing on what the audience is told is Elton John’s grand piano, gets two solo moments; and whilst the first Chopin piece was excellent, Ballade No.2, in B Minor by Liszt felt slightly over indulgent, reinforced by a preemptive applause from one audience member.

Ballet Nights offers a uniquely intimate experience with truly extraordinary dancers. The whole evening, from the thick, matte programmes to the dramatic lighting, layered and textured costumes to even the decor in the backstage bar has been carefully considered and finished to a high production standard. It’s a commendable effort.