Ballet Nights Bound in Motion Review
September 10, 2025 | Cadogan Hall – London, England, UK
Celebrating its second anniversary with another fabulous programme packed with world-class dancers, compère Jamiel Devernay-Laurence brought his engaging enthusiasm to the Ballet Nights stage once more.
He noted that Bound in Motion marked
“Two years of building a new tradition where dance is celebrated in all its forms. We continue to break boundaries and unite audiences.”
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Ballet Nights Bound in Motion Review
Ballet Night’s house pianist Viktor Erik Emanuel opened tonight’s performance, accompanying violinist Michael Bochmann MBE with a stunning rendition of Polonaise in D Major by Wieniawski.
Devernay-Laurence introduced the first dancer to the stage, and the Dying Swan was utterly captivating. Performed by Royal Ballet First Artist Denilson Almeida, the solo featured reimagined choreography by Calvin Richardson and accompanied on stage by Emanuel on piano and cellist Rebecca Hepplewhite.
Almeida flowed through graceful isolations, through the floor and through his own body, embodying both the strength and grace of the swan.
His glorious musicality was enriched undoubtedly, as was our experience as an audience, by the emotive live music, so close to him on the stage.
There were a lot of firsts this evening, and Ballet d’Jerri (Jersey’s national ballet company) which was founded in 2022, made their London debut onstage with Footsteps, choreographed by Garrett Smith performed by Ombline Noyer and Donovan Délis-McCarthy.
Amid a dusky blue hue, they embodied a gorgeous loving fluidity through their partnership, even before the music began. There were plenty of sharp lines, weighted lifts and turns and overall, an enjoyable piece to get lost in.
English National Ballet Principals Sangeun Lee and Gareth Haw were exquisite in their performance of Slingerland Duet. They are such a well-matched partnership, eye-catching the second they stepped onto the stage, seamless in the entwined turns and lines of this unique piece by William Forsythe. Trusting, swift but luxurious work between this long-term pair.
Global flamenco sensations Andrés Barrios and El Yiyo took the show into the interval tonight, Barrios on the gleaming grand piano which he played with spirit, while El Yiyo entered with castanets – his rhythms a language of their own.
He punctuated a passionate conversation with the audience through his rippling feet and magnetic presentation, to which the audience responded very enthusiastically.
Opening Act Two, Emanuel returned to the stage to play the final movement of piano suite Gaspard de la Nuit, M.55: III. Scarbo by Ravel; a piece with building atmosphere, pause and plenty of artistic interpretation.
This led into a UK premiere performed by Royal Ballet First Artist Caspar Lench. Flux, by Jordan James Bridge, incorporated some effective lighting – shadowy with an overhead spotlight, illuminating Lench’s incredibly mobile and fluid physique as he responded with pleasing power to the not overly unique electronic soundtrack.
Lench created elegant, extravagant lines, very grounded work with just a glimpse here in this choreography of his allegro abilities.
Three dancers, with long flowing natural-coloured dresses and loose hair, opened this next piece seated on the floor.
Omar Toussaint’s choreography was quite static to begin, in contrast to the sound of flowing water and a lyrical female voice, which led into a quirky piece with strings and organ. Sirens explored mythical female figures of temptation and danger and was performed by Third year graduate students from Rambert; a spacious trio with much feeling and connection between them.
Infant Spirit was intense and emotional; Andrew Cummings’ sharp, angular poses were at odds many times with the rich, fluid song he danced to. Not a comfortable watch, he conveyed angst and other emotions deeply through repetition, dynamic movement, audible breath and whispered words. He stuttered into a standing microphone as the song swept lyrically on. There was something quite vulnerable and unsettling about this piece.
Coming towards the end, it’s been enjoyable this evening to listen to Devernay-Laurence impart plenty of detail and background, delivered with good humour, about the dancers, their choreographers and music. He introduced Royal Ballet Principals Vadim Muntagirov and Fumi Kaneko who made their Ballet Nights debut this evening, as the final number in Act Two.
Much to the audience’s delight, he also mentioned the couple’s recent engagement before they came on stage to perform the pas de deux from Apollo, composed by Stravinsky and choreographed by the then 24-year-old George Balanchine.
Muntagirov entered with such presence and displayed just the athletic prowess Balanchine desired in his work in his opening batterie. Kaneko’s enchanting entrance as they touched fingertips and held eye contact created a great dynamic connection as they told the story of the Greek God’s journey from youth to maturity.
It was joyful to watch their rapport and confidence in one another as they flew flawlessly through the duet.
The whole cast returned to the stage and took a bow. Possibly some well-timed music could have helped draw the evening to a close as the audience was already filtering out while Devernay-Laurence was still offering his last words and reminding the audience of Ballet Nights collaboration with Ministry of Sound on 17th October.
Overall, Bound in Motion was a perfectly timed diverse production, not too packed thus leaving the audience wanting more. It was a wonderful, talent-filled gala evening and I look forward to the next one!
Featured Photo for Ballet Nights Bound in Motion evening of English National Ballet’s Sangeun Lee and Gareth Haw in William Forsythe’s Slingerland Duet. Photo by Deborah Jaffe.
You missed out Ekleido … the group piece with the most dynamic dancers of the evening IMO. Unbelievable good dancers and high energy piece.
Indeed, the six dancers of Ekleido performed an impressive piece: the pulsating music taken up in their movements, the lighting bringing hands and heads into focus against the glittering black costumes and dark stage, bodies forming shapes, quite otherworldly. One of the highlights of the evening.