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.