ENB School Summer Performance Review 4*
English National Ballet School Summer Performance showcased the talent of its students in a varied and enjoyable programme
A school summer performance is meant to show off the students’ progress during the year just ending, and at the same time create a party atmosphere where the students can have fun while performing at their very best.
By that measure English National Ballet School Summer Performance at the Bloomsbury Theatre was a success. Not everything was perfect, of course; but on the whole we got the measure of their schooling and most of the dancers appeared to enjoy themselves.
The programme put together by the School artistic director Lynne Charles for students of all three levels was a skilful blend of old and new, classical and contemporary, comedy and lyricism, highlighting both ensemble and pair work.
Of the eight pieces in the programme only two were presented at the School’s appearance at the Linbury’s Next Generation Festival in June: Études on a Theme of Satie, which opened the programme, and Ruff Celts, which closed it.
Of Études, which I reviewed elsewhere, I would only say that it was better performed the last time around, with too many imprecisions here. Opening night nerves, no doubt.
No matter. Quality soon picked up with the ‘Waltz of the Hours’ from Coppélia in Ronald Hynd’s choreography.
English National Ballet School in Waltz of the Hours from Coppélia. Photo: Pierre Tappon
Beautifully rehearsed, a dozen smiling young women went through the steps with assurance, but more than that, my notes state, they were really dancing. A pleasure to watch.
Renato Paroni’s A Mozart Divertimento came next. A piece for four women in glittery white tutus and three men in white blouses and grey tights, it drew on academic classical technique, and on the whole they acquitted themselves well – Chun Yin Chan’s beats were particularly impressive as indeed was the joy in his smile – though the piece required a little more sharpness than they were able to offer.
Riho Hayashi and Luke Wragg, both 2025 graduates, performed the ‘Grand Pas de Deux’ from Coppélia with flair, both giving a measure of their characters: he the larky Franz, who didn’t even skip a beat when one of his shoes slipped off during his variation, she the loving Swanilda, who got her man.
Act I ended with El Cid, choreographed by Lynne Charles to music by Massenet to show the students’ ability to deal with character, in this case Spanish dance. True, there wasn’t enough salero flying around, but on the whole the dancers coped admirably with the busy fans, the matador capes in the case of the four men in the third movement, and the not inconsiderable demands of the choreography.
Part II started with a curiosity: Graduation Ball. Choreographed in 1940 by the Russian David Lichine to music by Johan Strauss II, it’s rated as a comic masterpiece in the classical repertoire, but it’s rarely seen these days.
A dozen excited schoolgirls, under the stern eye of the Headmistress, attend the eponymous ball with the cadets from a military school, marshalled by the General.
Characters stand out, with Lila Ireland particularly effective as the irrepressible Pigtails, and Annabel Foster showing tremendous technique as The Good Girl.
Kota Haratani was an excellent Drummer Boy; Dina Rom Haugerud and Rocco Strickland offered a commendable interpretation of the Sylph and The Scotsman, the choreographer’s quote from La Sylphide.
English National Ballet School in Graduation Ball. Photo: Pierre Tappon
There followed a pas de six from Swan Lake, and like at the Linbury performance I was hugely impressed with Haru Yokoo, a new graduate that already appears to have everything. I hope she goes far.
Gordon Felesina and Olivia Newel danced an impassioned pas de deux from Gerald Arpino’s Italian Suite; he a solid, reliable partner, she lovely, with soft arms and great musicality.
And so we came to an extract from the Marguerite Donlon’s Celtic extravaganza, Ruff Celts. It’s a remarkable piece, which draws on Celtic folk music, warrior dances and esoteric ritual to create syncopated movement, punctuated with shouts, its wild overtones controlled by tight choreography.
On a completely different plane from everything that went before, its vigorous execution attested to the students’ versatility and provided a thrilling finale to a very enjoyable evening.
© Teresa Guerreiro
(Banner image credit: English National Ballet School in Graduation Ball. Photo: Pierre Tappon)
English National Ballet School Summer Performance is at Bloomsbury Theatre 10-12 July 2025. Tickets here