The Ballet Icons Gala marked its 20th anniversary at the London Coliseum on Sunday, reminding the audience why this annual event remains such a significant date in the dance calendar. Across a generous three-hour programme, the evening offered a wonderful look at the state of ballet today, blending traditional 19th-century showpieces with world premieres that pushed the form in new directions. While the sheer length of the night meant some segments felt more impactful than others, the standard of dancing was consistently world-class.
One of the most anticipated moments of the night was the return of Edward Watson, the former Royal Ballet Principal. Performing the UK premiere of Antonia Franceschi's Asylum, Watson proved he has lost none of his unique theatricality. His movement, set to the haunting music of Ezio Bosso, was filled with a psychological intensity that really resonated with the audience. It was a standout performance that earned him a well-deserved award later in the evening, highlighting his status as a performer who can convey deep emotion through every gesture.
The gala also took some welcome risks with new commissions. Sarah Chun was striking in Mthuthuzeli November's Uhuru, a piece that used staccato rhythms to explore themes of freedom. Another highlight was Postscript, a same-sex duet performed by its choreographers, James Pett and Travis Clausen-Knight. Accompanied by the live, soulful vocals of mezzo-soprano Elizabeth Lynch, the piece was a moving exploration of loss and isolation. These contemporary additions provided a necessary change of pace from the more traditional displays of technique elsewhere in the programme.
The classical selections provided the technical fireworks that the audience clearly expected. There was a lovely sense of celebration when newlyweds Fumi Kaneko and Vadim Muntagirov performed the Black Swan pas de deux, bringing a genuine warmth and effortless precision to the stage. Nicoletta Manni and Timofej Andrijashenko also impressed in a stylish, cinematic version of The Nutcracker choreographed by Jean-Christophe Maillot. The night ended on a high with Marianela Núñez and Patricio Revé in Don Quixote, where Núñez once again showed why she is a definitive star of her generation.
The digital backdrops often felt a little thin compared to the high-quality costumes and the dancers' physical presence. At times, the standard gala format of duets and solos felt slightly repetitive, and the evening might have benefited from a more unified finale that brought the entire company together on stage for a final bow. However, these are minor points in an otherwise successful celebration.
The Ballet Icons Gala continues to be an essential showcase for international talent, offering a rare chance to see a world-class lineup of artists in a single performance.
Review: Sam Lee Photos: Jack Devant