English National Ballet Body & Soul Review
March 20, 2026 | Sadler’s Wells – London, England
“This work explores conflict and connectedness through a series of duets. Duets between body and soul.”
– Crystal Pite on her work, Body and Soul (Part 1)
The curtain opened on a dark stage with a low electronic hum, which is pretty frequent in modern ballet productions. Two figures, one crumpled on the floor and one standing, began to move to the French narration spoken in a clear female voice.
The narration, present throughout much of the work, was derived from rehearsal notes made by Pite and contained simple directives:
“Left.”
“Right.”
“Repeat.”
“Pause.”
The artists on stage embodied and interpreted those directives.
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English National Ballet Body & Soul Review
Shortly after the opening, a suited and booted company marched in and repeated the walking directives.
The original soloist was separate from them, but felt as though they would like to belong, reaching out to them. This was a powerful moment; the main body, many in number, moved as a unit displaying togetherness and belonging. They marched and pulsated in synchronicity. It drew the eye but felt repellent at the same time.
The narration dropped to a whisper, with a drone sound underpinning the movement where bodies responded to inflections and punctuations in the words. Satisfying and mesmerising to watch, some dancers exited and reappeared in white shirts and ties, others in white vests. There were some tender moments here, a softer more loving duet, and gentle tone with piano music – Chopin – sounding slow melancholic chords.
The most memorable part of this work must be the entire company making waves; half dressed in white shirts and black trousers, the other half in black suits.
A line of each facing each other, reaching forward, interlinking, commencing an ever-growing push and pull against each other to the sound of rolling waves. This proved to be gorgeously effective movement, both through choreography and the striking black and white costumed contrast.
There was a lot of dramatic running and use of conjoined bodies to create one surging shape-shifting formation, all done with fabulous musicality.
The narration returned at the end:
“Gauche.”
“Droite.”
We see the fallen figure, their partner stood over them.
I felt we were left wanting more, which seemed a good and a bad thing all at once.
Proper Conduct, by Kameron N. Saunders, in Act 2 had a very different feel. Vertical spotlights opened in ever-increasing circles and backed a jester type of character, dressed in an all-in-one white hazard suit, who moved throughout the three-part work with robotic and unpredictable gesture. He was an observer in the first two scenes.
“You will now be taken on a journey.”
The narration throughout, by Jose Maria Lorca Menchόn, had a manic and disconcerting sound and feel to it, which worked here.
Romantic strings and a heartbeat accompanied part one with dancers dressed in individual summery clothing and plenty of colours, though it gave it a bit of a disjointed feel.
The movement was free, swaying, bounding joy and elevation. There were cartwheels, lifts, floor work and bright expressions. The music felt quite simplistic, not unlike at a theme park, and the choreography felt predictable.
“Wasn’t that lovely?”
Sarcastic narration lead into the second part which explored the “rot that lies beneath – the sickness hiding in plain sight.”
To a breathy soundtrack, dancers pressed and danced seductively against each other, peeling clothing away from themselves and others.
Partners were carried in and out of shadowy light – crackling flames and sighs served as a backdrop. Females were carried standing overhead pedestal-like before being discarded and piled on top of one another.
I liked the concept. The narrator warned against the
“corruption that lies beneath the smiles.”
This evoked challenging thoughts, but there could have been more development to this section. Saunders aim was for the piece to act as a catalyst encouraging people to look at how they engage with those around them.
The third part involved sections of black dance floor being pulled away to reveal a lighter one, and three sides of white screens rose to frame the stage. Dancers in white suits, like the ever-present observer, entered wearing faceless masks.
“Do you not want peace?”
Their movements were rhythmical, systematic, creating a sterilised uniformed community where everything was controlled and nothing felt quite right.
This piece was certainly thought-provoking, but also felt unfinished. There was more to be said about the move from corruption to uniformity, as well as where that uniformity and control could be leading.
Overall though, Body & Soul made for interesting evening, made all the better for including a post-show talk with the choreographers and English National Ballet’s Artistic Director Aaron S. Watkin.
Featured Photo of English National Ballet‘s Anna Ciriano in Crystal Pite’s Body & Soul (Part 1). © Photography by ASH.
