English National Ballet Rhythm Riot Review
September 24, 2026 | Sadler’s Wells – London, England
“Rhythm Riot”, English National Ballet’s latest mixed bill, is aptly named; the program presents three strongly contrasting and individually weighty pieces.
The program begins with Balanchine’s Symphony in Three Movements, followed by two world premieres – Micaela Taylor’s Bow Out and Jae Man Joo’s Auguries of Innocence. ENB’s Artistic Director Aaron S. Watkin writes in the program for the night that the three pieces
“trace a journey through distinct rhythmic worlds”
which becomes entirely evident as each work is revealed.
The contrast, and depth of authenticity within the world of each choreographer and their respective work, is strong and beautiful. It is a bold and exciting curation, the two intervals during the evening giving each piece their own space to be witnessed and digested by the audience.
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English National Ballet Rhythm Riot Review
Symphony in Three Movements presents a classic and quintessential 21 minutes of Balanchine’s dynamic movement characterised by personality and incredibly sharp lines and patterns.
Immediately iconic, the curtain lifts to reveal the corps de ballet stood in a perfect diagonal across the stage dressed only in leotards. It is a striking image of classic balletic imagery and poise, but with a touch of the boisterous exuding from the symbolism of a pony tail rather than a bun as so commonly paired with such a classical look.
This premise continues to prove itself as the dancers break out into complex and dynamic Balanchine movement to Stravinsky’s equally complex and dynamic score.
The piece is playful yet incredibly technically demanding. Movement is almost non-stop and very musical and intricate. The dancers rise to this challenge with flair.
Swanice Luong and Daniel McCormick as the first principal couple enter with fiery passion, Luong demonstrating impressive physicality and an explosive energy she channels with much precision.
Ksenia Ovsyanick and Rentaro Nakaaki take the stage as the second principal couple with a calm poise and evident assurance.
Emma Hawes and Rodrigo Pinto are a gorgeous pairing to demonstrate Balanchine’s choreography which so clearly is all about highlighting the beauty and power of the dancer’s body.
It was beautiful to see individuality embraced by each principal dancer.
That edge is really where Balanchine’s style shines, and you could feel personal ownership was encouraged and taken on board by these dancers. It is harder to translate this concept into the corps successfully, and there were moments where the full commitment slipped.
Bow Out pulls us suddenly into an entirely new atmosphere. Dancers are dressed androgynously in black tail coats, the stage bare apart from two white platforms on either side of upstage.
Taylor “fuses street, club and hip hop influences with the clarity of classical ballet” and in this piece is particularly inspired by Jumpin’ Jive a dance number by Fayard and Harold Nicholas. Speaking to this she says,
“They were so dynamic, but they were also sophisticated and poised. They were also two young black men performing in a time where racism was really prevalent in America, in front of audiences that looked nothing like them.
What I was inspired by was not just their charisma, the boldness in their creativity, it’s that they were standing up for something, as artists of colour. I’m looking to explore that bravery, that ability to step outside of your comfort zone.”
The dancers' joy at performing this piece notably exudes from the stage into the audience. You can feel their investment and genuine delight in movement.
The music, Hear Infinitely by Philip Patrick Harper Bucknow, a.k.a Tru, is driving, deep and groovy, and the movement mimics this seamlessly. It is a pleasure to watch the dancers move, and a wonderful surprise to see their versatility.
The pacing of the piece is genius. Taylor uses the stage with expertise – the layering of patterns and energy with different movement over different parts of the stage is impressive.
The piece drives forward carrying the audience with it, keeping you ever interested and mesmerised. It is divided into sections, clearly evident through music, movement quality, lighting and costuming. The jive section for example is wonderfully cute, quick and playful with super high energy, but further into the piece we see beautifully fluid group work with slower paced, melodic swelling music.
Across these varying energetic landscapes, Taylor’s vision and movement tickles the brain and is a delight to witness.
One small critique is that the piece does strengthen after the dancers remove their black coat tails revealing white shirts. The added contrast in colours reveals depth of movement quality. Overall the piece is stylised, clean and together, well-groomed but with an honest embodiment and abandon from all the dancers. The bows are met with a very enthusiastic applause.
Inspired by William Blake’s poem of the same name and with music by Pēteris Vasks, Joo’s Auguries of Innocence presents a highly cultivated world with striking imagery and intentional movement.
From the rise of the curtain the audience is met by the beautiful, fragile-yet-powerful image of Sangeun Lee as ‘The Weaver of Souls’ dressed in a stunning strapless gown of textured masses of black cloth with an almost rag-like roughness. Her long hair is loose and wild, and the lighting emphasises the pallor of her skin against the dark dress. This eerie image sets the tone and aesthetic of Jae Man Joo’s world.
Joo speaks of his inspirations in the night’s program, particularly mentioning Pina Bausch and exploring “emotion that moves from the inside out”, as well as an interest in
“the intricate details of upper torso movement, breath control, and the spirit of Korean traditional dance movement blended with classical technique”.
His movement vocabulary is equally unique and particular, and feels as if it has come from a clear place within him. There are recognisable motifs – a lot of specific gestural movement which feels like Joo’s personal language, and we also see a lot of grounded and flowing almost tribal sequences with an animalistic power.
Auguries of Innocence is visually breathtaking and otherworldly. It holds a consistent quality and intention and in witnessing it it really feels like a vision has been realised; however there are times where it feels like it lacks context or momentum. The dancers are well-rehearsed and committed but may benefit from settling deeper into the style of the piece as they perform more.
The strongest section of the piece comes at the end where the dancers gradually enter the stage – beginning with a duet by Ovsyanick and McCormick, and then Hawes and Gareth Haw – in skin tone, patterned body suits. The quality and flow of movement here is delicate and beautifully smooth. The simplicity of costuming and clarity of lines in the shapes created is breathtaking.
Here Joo’s work feels fully realised and it really felt like the audience watched in awe.
Three very unique works are presented in English National Ballet’s “Rhythm Riot”, and each holds its own proudly. Separately engaging, the pieces contrast each other in a number of ways. The company appears strong and versatile, and the audience will leave satisfied after witnessing an evening full of engaging and distinctive pieces of art.
Featured Photo of English National Ballet dancers in George Balanchine’s TheSymphony in Three Movements. © Photography by ASH.
