Balanchine: Three Signature Works review

George Balanchine is perhaps the most influential choreographer of the 20th century. He along with Lincoln Kirstein set up the New York City ballet which has since become one of the world's foremost dance institutions. His move towards non-narrative choreography laid the groundwork for much of the dance landscape as we now know it. Balanchine's legacy is undeniable, although he has perhaps overshadowed the contemporaneous work of Martha Graham, who for me was the greater innovator.  

The Royal Ballet has recently put on a programme consisting entirely of Balanchine's works: Serenade, Prodigal Son, and Symphony in C. It was more than worth attending. 

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Serenade was the first work Balanchine created in America. I loved the use of a kind of false mimicry in the choreography. Dancers would seem to emulate the movement of each other without fully copying, most notable when the ensemble ebb and flow in response to the soloists. For me, one of Serenade's most significant elements is the costuming. Light blue sheer dresses create this motion-blur effect, and when dancers sit or kneel they become like puddles of water. The music that accompanies serenade is Tchaikovsky's Serenade for Strings, which I have no particular fondness of. In this context it falls into the same trap much of film music does: serving the visuals well enough, but without really doing too much. I much prefer ballets where the music has as much to say as the dance itself.

A constant musical motif was the use of an ascending major scale, although at first slightly annoying, it did give me a frame of reference. It reminded me of a student practicing their scales, making me view the ballet itself in a similar light: ballet like practice; exercise. This was further supported by the quiet moments in the music, which gave rise to a strange intimacy of audible point work, like seeing under the lining of a garment. Interestingly enough, Serenade was originally created using ballet students, with their rehearsal mistakes actually making into the final choreography. 

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Prodigal Son is perhaps the outlier of the three works, having a strong narrative. Prodigal Son is characterised by an almost deliberate ugliness, in the alien-like dance motions, as well as in its costuming and set. The grotesqueness in juxtaposition to the rest of the programme. When the Prodigal Son (as performed by Leo Dixon) loses all his wealth, his near naked body moves in an incredibly disconcerting, animalistic way. 

The standout was Fumi Kaneko as The Siren. She is, expectedly, entrancing and athletic. Her red veil acts her very own red carpet, possibly paralleling the idea of the cult of celebrity.

Prodigal Son throughout seems to push boundaries when it comes to the shapes possible for the human body to contort into. 

Prokofiev's score is marvellous, and features a fuller orchestra compared to Serenade. It contains some incredible clarinet work, and manages to convey the juxtaposition between the despair of the son and the comfort he finds in his family.

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The final piece, Symphony in C, is an incredible showcase. A large ensemble enters the stage, wearing tutus, tiaras and most importantly: sparkles. 

Symphony in C features a piece by Bizet from which the dance gets its name. The music is jovial, nigh on whimsical, music that you could hardly help but dance along to yourself. This is an undeniably fun dance, all the more confirmed by the smiles on dancers faces 

Despite the disappointing absence of Sarah Lamb on the night I attended, I see her replacement Melissa Hamilton as no downgrade. Hamilton is a dancer with such presence, and she is quickly becoming a personal favourite. 

Cynics would likely call Symphony in C a cliché, but for me, it is attempting to embody ballet in its most essential, or rather quintessential, form - it would make an ideal first ballet. The work gives adequate opportunity for solos, but its beauty comes from the symmetry and lines of the ensemble, almost like Military formations decontextualised. Symphony in C reaches at something perfect. 

Overall, The Royal Ballet constructed a well-balanced program, showcasing not just one of ballet's most important figures, but also the best in talent that they have to offer as a dance company. ★★★★☆