Yesterday, the London Coliseum hosted a dazzling celebration for the 20th anniversary of the Ballet Icon Gala. This event is widely recognised as one of ballet’s most prestigious gatherings, attracting leading dancers and choreographers from all over the world. Originally founded by Olga Balakleets to honour Maya Plisetskaya’s 80th birthday, the gala has flourished ever since.

This milestone edition featured accompaniment by the Orchestra of the English National Ballet, conducted by Maria Seletskaya. Instead of elaborate sets, a simple screen displayed backdrops, keeping attention firmly on the dancers and their movements.

The programme leaned heavily towards classical works but included nods to contemporary dance. Classical selections showcased high-energy sequences that demonstrated technical brilliance, especially during pirouettes and coupé jeté en tournant. These choices highlighted the similarities between certain aspects of each performance.

Contrast was a central theme, most notably in The Black Swan pas de deux, whose sculptural choreography and dramatic costumes stood out against more modern pieces offering shifts in tone instead of the usual formal fairy and prince, it depicted two people swept up in passionate love.

The Nutcracker Duet, set to Tchaikovsky’s Sugar Plum Fairy, challenged tradition; this was no courtly dancing between a tutu fairy and her crowned prince but of two people rapturously in love.

Love also played a key role in Anjelin Preijcal’s Le Parc, where a couple spun around the stage in what is considered dance’s longest kiss.

Two pieces were especially commissioned for the Gala were Uluru and Postscript. Uluru set to tribal music and performed by Sarah Chun created a striking unsettling atmosphere through music and lighting.

The second premiere, Postscript, saw James Left and Travis Clausen-Knight bring their familiar powerful choreography to the stage, enhanced by the presence of an opera singer who added intrigue and depth to their performance.

Edward Watson made a rare appearance in Asylum, dancing to Enzio Bosso’s music after his official retirement in 2020. Watson’s extraordinary flexibility and unique expressiveness made his return especially memorable.

Ultimately, the evening left behind a lasting sense of harmony, seamlessly blending styles from both past and present generations of dancers.

Reviewed by Nina Gardner.

Five Stars.

https://londoncoliseum.org/events/ballet-icons-gala-20th-anniversary/