'Elite Syncopations' reviews 'Paquita' reviews recent London Studio Centre reviews more Mandy reviews

21 new graduates of the London Studio Centre, on the brink of their professional careers, and full of enthusiasm and excitement to be performing in London in a ‘showcase’ attended by artistic directors , choreographers and other potential employers. Margaret Barbieri, the Artistic Director should be very proud of this years students. Surely Miss Senri Kou will be the first to be snapped up. This graceful slip of a girl reminded me of Erina Takahashi, she danced the principal roles in ‘Paquita’ and’Elite Syncopations’ and I was charmed by her style and technical ability. Her partner, the handsome Cristo Vivancos also displayed the virtuosity required to attract a major company. An able partner, and though a little nervous and stiff in the first instance in Paquita, soon warmed up and was impressive.

Paquita ( ch Petipa music by Minkus) was maybe not the best choice for the corps, the girls were a little unsynchronised and were far better in the individual variations. The principals shone in the 4th and 5th solos, with some delightful fouette turns from Senri Kou. Her smile said it all.

Two news works followed, especially commissioned for the company, and I particularly enjoyed ‘Salon’ by Oliver Hindle , danced to Chopin’s Piano Concerto in E minor. Hindle notes in the programme “ This piece of music is (also) very beautiful. It instantly places the listener in a calm, relaxed state, with no surprises or interruptions. …. I also decided to set the piece as a rehearsal in a dance studio…” The work has a Balanchine-esque feel, the dancers in muted tones, in practice clothes, and taking turns to rest at the barre, or ‘freeze-frame’ in a relaxed attitude whilst the focus was on a companion. The boys were strong and considerate partners, and the work certainly had a calm and very elegant feel. I noticed Brenden Bratulic in particular, as an excellent partner with an easy, unforced style.

‘Glass for 12’ (ch: Laurent Cavanna , music by Philip Glass) opens with the dancers backlight, in silhouette against a plain ground. It reminded me of the final moments of Wheeldon’s‘Tryst’. Then the mesmerising, repeating themes of Glass’s composition bring the dancers into focus, using phrases that repeat but develop into a very strong, abstract theme. The dancers are in flat slippers, the costumes are in bold autumnal colours of magenta, orange and dark yellow, and the girls have their hair loose. Very enjoyable indeed.

For the finale, how wonderful to see the whole of ‘Elite Syncopations’! Presented as a tribute to the late Sir Kenneth MacMillan , with costumes kindly lent by the Royal Ballet wardrobe, the dancers were in top form, and had a ball !! Must mention the brilliant Thomas Woods, a second year student who replaced a graduate colleague at very short notice, and was so funny as the incompetent buffoon in Alaskan Rag. Move over Wayne Sleep, Thomas has arrived. His long suffering partner Jennie Harrington danced beautifully even when hopping over Thomas’s backside!She is a little like Sarah McIlroy. Other excellent soloists were Shizuka Ago in Calliope Rag, and Erico Montes and Yurina Miura in Golden Hours/Sweethearts. I hope ENB scouts were out in force!

( just an side for those who know me to be a complete groupie…..I met Will Kemp in the theatre foyer…..hope he enjoyed the show as much as I did, and thanks for the autograph Will.)