KYIV CITY BALLET – A TRIBUTE TO PEACE at the Peacock Theatre

★★★½

“a varied and defiant show”

On 24 February 2022 Vladimir Putin launched his ‘special operation’ in Ukraine, launching missiles and sending in tanks to the city of Kyiv. Less than 24 hours prior, Kyiv City Ballet had left to start what was to be a three week tour of France. More than 18 months later the special operation is a full blown war and the company has yet to return home.

This September, Kyiv City Ballet is at the Peacock Theatre in London with a mixed bill – A Tribute to Peace. It’s a greatest hits programme of peaks and lulls, with some run of the mill renditions of crowd-pleasing favourites and other more self-assured performances. Extracts come from an impressive range of 19th and early 20th century ballets with such cannonic pieces as The Dying Swan, created for Anna Pavlova in 1907, and scenes from La Bayadere and Le Corsaire.

Somewhat surprisingly, the programme reflects the influence of the ballet masters of the Russian Imperial Ballet, now known as Mariinsky Ballet where the company’s founder and Director Ivan Kozlov was premier. Last spring, following the invasion, many dancers left the hallowed institution of the Mariinsky either in protest or out of fear, as theatres in Europe cancelled touring productions from the company. With at least half of the programme works choreographed by former Imperial Ballet heads Jules Perrot and Marius Petipa, it’s a subtle nod to the power of art to transcend politics, as well as speak to it.

“Soloist Vladyslav Bosenko is simply wonderful to watch”

Principal Kateryna Floria presents the classics and handful of more modern pieces with strength and style. Appearing experienced and self-assured, her performance of Servant of the Muse with Artem Shoshyn is particularly delightful, showing off her power by pushing away the man clearly enamoured with her. Her beautiful olive green costume in this piece against a more abstract projected backdrop compared to the twee graphics and sparse set and props throughout the rest of the show also makes this piece the most visually striking.

Kristina Kadashevych and Oksana Bondarenko handle the most traditional pieces sweetly and sincerely without too much drama. Stella Fedorovych is a surprise force, charging the stage with her Laurencia (variation). The Spanish flamenco style costume and lively music are matched by her explosive leaps and joyous expressions.

Soloist Vladyslav Bosenko is simply wonderful to watch in the Le Corsaire and Talisman pas-de-deux that sandwich the interval. He lights up the stage, maintaining an enviable suspension as he leaps and bounds, making use of every inch of space the stage has to offer. Chudovsky Mykyta’s performance in Ostap from Taras Bulba draws a battle line for the title of highest jumper. Coming across like more of a gymnast, his split leaps are accompanied by slapping of his feet against a backdrop of a golden wheat field against the clear blue sky.

Were it not for the stroke of luck that meant these men left Kyiv the day before the invasion, they would not be here on this stage. The final piece, Men of Kyiv, feels a celebration of that as much as a tribute to the men left to fight. A poignant ending to a varied and defiant show.