'Soldier's Tale' reviews Elliott in reviews recent Ballet in Small Spaces reviews more Bruce Marriott reviews Discuss this review (Open for at least 6 months)

The secret here is good music, mostly played live, and a thinking choreographer with relevant things to say to people be they 5 or 75. The audience was almost exclusively local, happy to splash out £10 for a great view and £1 for an acceptable white wine in the interval served by volunteers who also did front of house.

The billing of 'Music and Dance' draws on 2 constituencies and there were proud mums and dads too, since local schools provided the dancers for two of the works. The musicians, all highly competent, were nearly all young too. It all created a wonderfully inclusive feeling, showing that dance can make its mark in so many ways. The hall was full but space left in the centre aisle which was used, as well as the stage, for dance. That's very astute because most people never ever see dancers working close to - their physical presence, their acting, their smoothness - their sweat. All eyes were riveted as they moved, often within touching distance of some seats. It's a magic that will bring people back.

There were 7 pieces of dance, mostly to Stravinsky played on clarinet, flute, piano and violin, but for me the most enjoyable work was 'Catch your Breath' to a Poulenc piece for two clarinets danced by Bethany Elliot (from Neophilia - see their Weblog) and Thomas Linecar. Three sections, none long, varied from reflective to jaunty, the moves intelligently illustrating and punctuating the music. In one, the legs and feet seemed to express the action, in another the arms dominated and in the finale it all came together and was danced with such fizz and musicality.

The Soldier's Tale also works well, condensed down to 3 dancers and a pair of bright red, ultra-desirable trainers lusted after by the soldier. It works well because we can see the plot and enjoy the movement for what it is. The style, as throughout the evening, picks up on Crow's Royal Ballet's background, though there was not actually a pointe shoe in sight. It's such a luxury seeing a new narrative ballet that you can actually understand and using trusted movement as well.

The deepest and most touching work was Elegie, dedicated to Susie Crow's parents, a moving pas de deux echoing love, support and deep respect. Crow uses movement like MacMillan where a single gesture is so obvious but so revealing of inner character. In fact I think Crow has a perfect programming touch that played to us all in many different ways. It's the second time I've seen Elegie - Neophilia included it in their Summer Sampler and David Johnson's and Bethany Elliott's familiarity with it made it the more poignant.

The brightest moments involved the kids - some beaming in a "Look mum I'm on stage" way and having fun if not perhaps destined for, or wanting, a place in a ballet school. Others have something more and you hope they stick with it. Having a choreographer create pieces for them however works really well - there is none of the twee or hackneyed that can make local school shows so desperate for anyone other than doting parents.

So what we had was a night of dance and music that brought the local community together in all its diversity and did a power of good for dance and one's spirits - something that no amount of targeted advertising or spending would really do. I sincerely hope Crow and St Edwards's do more shows. They don't make money I'm sure, but they don't cost anybody a fortune either and they move dance and dancers forward as well as the audience. The real question is how this is replicated in cities across the land. It's a different type of community dance and one we badly need - though I have never seen it anywhere near so clearly before. A huge "Well Done" to all involved - now do it again and teach others!