In the run-up to Christmas the Royal Ballet presented a short season of Ashton’s Sylvia. Written for Margot Fonteyn, the ballet’s saving grace is a wonderful ballerina role. The Royal Ballet is currently well served with top female dancers and at the première Marianela Nuñez ran the gamut of bold warrior queen, captive, seductress and ultimately triumphant lover.

Marianela Nunez's jetés, which slice the air like one of her arrows, combined with the plasticity of her upper body identify her as one of the great interpreters of the role. Her partner Rupert Pennefather is less well served and unfortunately made little of the few opportunities offered to him. For the rest it is nymphs and shepherds in jolly unison and Delibes’ music is a perennial delight.

A unique company
At The Place, home of London School of Contemporary Dance, Stopgap, a unique company of five dancers of mixed physical ability presented a double bill, Trespass. The opening work, Within is Thomas Noone’s first for the company. His work is hugely demanding physically and this work was no exception. Laura Jones is the central character who dominates the work even when not at the centre of the action.

Noone moved her from the safety zone of her wheelchair offering instead a desk and chair. This allowed her an extended range of arm and torso movements which she used to powerful dramatic effect. Her duet with David Willdridge, opens with a slap, setting the edgy tone that, even when emotions mellow in a sort of truce, never quite loses its bite. The interest never slacked in this short work as relationships were shaped then reshaped by the powerful choreography.

Rob Tannion’s Splinter proved an excellent vehicle for the uncanny close harmony that pervades this group. Despite the dividing and uniting indicated in the title the dancers; instinctively understand their collective needs and seem to communicate through shared rhythm in fluid constantly evolving work.

Clara is on the cusp of adolescence, torn between the delights of her toy Nutcracker doll and her attraction to the charming nephew of Drosselmeyer. The fluid interchange of the two characters, the Nutcracker, Junor Souza, and Nephew, Vadim Muntagirov, continues through the snow scene reflecting her vacillating affections. Inevitably, the Nephew wins her love which is celebrated then in the Grand Pas.

The London premiere was crowned by a magnificent performance from Daria Klimentová and Muntagirov. Eagling’s choreography, which deviates only a little from the traditional version, is subversively flavoured with a hint of neo-classical fluidity. Klimentová has a cast iron technique. With the steps well under control she was able to give full value to every musical phrase, while allowing her generous ports de bras and gracious presence to embellish the role.

Muntagirov making his debut in the role was a fitting prince; with aerial lifts and partnering secure and beautifully timed. His jumps have tremendous height and he alights, magically, in feather-soft pliés. Only in his second year as a professional dancer he has, in addition to his technical qualities, a natural elegance that mark him out as a future star.

Maggie Foyer
24 Jan 2011