Dante Sonata reviews BRB Enigma reviews all Enigma reviews all BRB reviews

Although created in 1940, Dante Sonata had the look of something much more of the 1920's, very melodramatic and with many silent movie gestures. The designs are by Sophie Fedorovitch and seem a million miles away from the cool sophistication of Symphonic Variations created only 6 years later.

For an Ashton work there is an awful lot of emotion on display as the Children of Light and Children of Darkness fight it out on stage while the world was at war outside. But there are also scenes of erotic love, and crucifixion - it's a piece you could see many times and yet find more in each time. The most arresting image was particularly hellish as a pile of men were just seen as writhing legs; quite breathtaking and I'm still not quite sure how it was done so simply.

The Liszt piano music, also inspired by Dante's poem, alternately threatens, soothes and disturbs but after 17 minutes the piece has indeed run its course and you blink as you come back to the present day. It's a real curiosity of a piece and while I'm glad I have seen it, and look forward to seeing it again, I can see why other priorities left it on the bench for a few decades. See it while you can.

Scenes de Ballet opened the evening and it too looks earlier than its years - premiered in 1948, Jann Parry's excellent programme notes talk of a 1930's feel: spot on. But these are warm designs by Andre Beaurepaire and I just love the little matador hats for the girls. The Stravinsky score was specially created for Broadway and the feel is light and buoyant as Ashton confidently moves small blocks of dancers around the stage. And what he does with the legs and feet - flirty, straight, loose, strong and fast.... blissful to watch. Nao Sakuma (leading because of first cast illness) looked in charge of it all and it's good to see her being pushed. But at 22 minutes Ashton sold us short I think - it should be at least twice as long!

The evening ended with Enigma Variations. To Elgar's music and beautifully detailed designs by Julia Trevelyan Oman it's a series of cameo dances about his friends and acquaintances. Joseph Cipolla was the convincing Elgar - I've not seen him for some time now and the shorter hair cut reminded me that we all get older! Monica Zamora hammocked well too (as Isabel Fitton). But there are many roles for the dancers and they all seemed to push themselves for great performances and to be well rehearsed.

It's been a gruelling period for BRB in touring and preparing for the Ashton season and it was good to see them and Enigma in such great form. And the good news is that both Ashton programmes are touring in the Autumn. I just hope they get to London next year.