BALLET NIGHTS | NEW VOICES (REVIEW)
Pett Clausen-Knight in Nerve Wire - All Photography by G.S.
Last friday, Ballet Nights hosted their inaugural event at the Ministry of Sound, an iconic club venue renowned for its rich history in dance music.
The concept of a dance show in such a venue intrigued me, promising a blend of ballet and contemporary club culture. I was eager to see how these seemingly disparate worlds would converge. The event, curated by founder Jamiel Laurence, primarily showcased contemporary dance in a variety show format.
Manon Servage, Sophie Quay, Zach Parkin & Ivan Gaspar in Gathering Rhythms
The evening commenced in Room 103, where the audience gathered around an intimate dance area. The opening performance by Seirian Griffiths set the tone, showcasing his athleticism and spatial awareness with a blend of contemporary movement, breaking, and tumbling. Following this, Watson and Woodvine captivated the audience with a performance that seamlessly transitioned between the balcony and the main dance area. One of the standout pieces was Gathering Rhythms, choreographed by Manon Servage and Sophie Quay, and performed by Zach Parkin and Ivan Gaspar. This performance thoughtfully incorporated the club's environment, utilising various focal points, including the bar, and playing with light and costume to enhance its motifs.
After a brief intermission, the show moved to the 'Baby Box,' the main space of the venue. This segment featured work from the James Cousins Company, a recent Olivier Award recipient, and a piece choreographed by Nick Shoesmith, associate choreographer of the Scottish Ballet. Hannah Ekholm and Faye Estoeser of Ekleido also brought their genre-defying performance, Splice, to the stage. Having seen their set at Reune, a contemporary-centric show, Breakin' Convention, a street and hip-hop festival, and now Ballet Nights, I can say their versatility speaks volumes about their craft.
Unlike Room 103, the performances in Baby Box took place on a slightly raised stage. However, this space, primarily designed for live DJs and music, was not ideally suited for dance. Visibility was a challenge, with many audience members struggling to see the floor work and intricate movements. Fortunately, I found a vantage point beside the drum kit on a raised platform, but many were not as lucky.
Pett Clausen-Knight in Nerve Wire
While the idea of Ballet Nights at the Ministry of Sound was promising, the execution felt somewhat clichéd and unimaginative. I had hoped for a more immersive and experiential show, reflecting the club's storied history in dance music. Despite these limitations, the initial part of the evening in Room 103 utilised the space more effectively, aligning better with the club's ambiance.
Ballet Nights: New Voices succeeded in providing a platform for exceptional talent, yet there was potential for a more symbiotic experience that could have allowed both dancers and clubbers to enjoy the night fully. Enhancing the integration of dance with the club environment could elevate future events, creating a unique blend of dance and club culture that resonates with a diverse audience.
Review Shokirie Clarke
