Review: BALLET TO BROADWAY: WHEELDON WORKS, Royal Ballet And Opera

It's a big deal to have an entire evening dedicated to your work, so kudos to Christopher Wheeldon, who's achieved this accolade in his early 50s.

Wheeldon deserves recognition, as he's a renowned choreographer of skill and range with an ever-increasing canon. And Ballet to Broadway: Wheeldon Works shows us the scope of the creative - from lyrical modern ballet to stylish jazz via contemporary explorations.

The evening includes four pieces, and the first, Fool’s Paradise is the strongest for me. Interestingly it's the earliest work included, created in 2007 on Wheeldon’s own company at the time - Morphoses.

Wheeldon worked with a stellar roster of creatives; music by Joby Talbot, costumes by Narciso Rodriguez, lighting design by Penny Jacobus (and the original dancers of course). And the end result is a work that brims with food for thought.

The Talbot score isn't the most interesting, with extended periods that lack dynamic, and this is reflected in the, at times, one dimensional, yet always stylish choreography. But when the music becomes more complex or dramatic - then we get to see the Wheeldon of keen interest.

The main pas de deux - danced by Marianela Nuñez and Lukas B. Brændsrød - shows what Wheeldon is capable of when working with a couple. His women are undoubtedly partnered, yet somehow it's a dialogue rather than simple manipulation. I read sparring of sorts - like a form of elegant wrestling - and I believe Nuñez adds to the equation with her cool, physical power.

The earlier pas de trois works well with dramatic, lavish movings, and a very Wheeldon dancer in Annette Buvoli, and throughout, Akane Takada understands the quiet emotion one can find in Wheeldon’s lexicon.

The two middle works are both duos: The Two of Us to music by Joni Mitchell and Us to Keaton Henson. The first is performed by Lauren Cuthbertson and Calvin Richardson and feels more like a collection of musings than meaty choreography. The couple have numerous solos before dancing together, which creates an overall sense of disconnection rather than cohesion, and I didn't appreciate Julia Fordham's take on Mitchell's canon.

Us was created on Ballet Boyz in 2017, and I saw it then, in an intimate space, where it had more impact. As a gay man I deeply appreciate seeing two men dance together, and Wheeldon more than succeeds in creating a closeness that isn't exclusively about sexuality, but that doesn't shy away from it either. Matthew Ball seemed very in tune with the work's physical/emotional balance.

Closing the programme is An American in Paris, taken from Wheeldon’s Tony Award-winning musical set to Gershwin. It's a stylish piece, and one that shows Wheeldon’s influences - the cool jazz of Jerome Robbins and the sculptural chicness of Frederick Ashton - with sophisticated ease.

The company look in command, and it's interesting to see some of them dance in a low heel. Wheeldon joined New York City Ballet when 19, so is familiar with repertoire beyond classicism. Of course the Royal Ballet do more than just the classics, but there's definitely work still to be done to reach NYC levels of sass and punch.

Cesar Corrales as Jerry Mulligan is basically Travolta in Grease - this is a huge compliment, and Anna Rose O'Sullivan offers a subtle Lise Dassin with room for growth. The modern, graphic designs by Bob Crowley are as slick as they come, and enable the 25 minute piece to feel absolutely stand-alone.

I left the theatre knowing what I already knew; I'm a hardcore fan of early Wheeldon (circa 2001/2). A maker who wrestles with complex music, and finds harmony through discord and poetry via analytical exploration. Of course, I also appreciate all the other iterations of the creative, and fully recognise the dance world would be the lesser without him. Bravo Chris.

Ballet to Broadway: Wheeldon Works runs until 27 May

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