Reviews of the English National Ballet in a Roland Petit triple bill.
Perhaps Petit depended on his original star dancers to carry the material: certainly some of ENB's young cast look underpowered for the task. Begoña Cao has the vampy legs and eyes for Carmen, but not the devilment, Esteban Berlanga the El Greco face but not the visionary despair for the Boy in L'Arlésienne. Youth, and a touch of artlessness do however serve Johan Acosta (21-year-old nephew of Carlos very well in Jeune Homme. Reckless with hormones and angst Acosta completely convinces us he lives, and dies, on the stage
The Evening Standard
The Arts Desk
Petit's style is pick'n'mix, but his theatrical vision is his own, and with practice the ENB dancers will conquer it. The current generation is new to the ballets, and the dancers' unfamiliarity means they occasionally looked rushed. The sets, meanwhile, looked wonky, a sure sign things need to bed in.
In the three of his famous works on parade last night at the London Coliseum sex and death stalk young men, in the shape of inexorably enticing women. Yes, one could swat it away as a typical Frenchman’s cliché to present women obsessively in this way, but, by gum, it works as dance theatre in today’s antiseptic times. Suicide, suicide, murder, all driven by desire. Last night’s audience lapped it up and I suggest it will be a long time again before any British stage presents a programme of ballets celebrating the urges of the loins with so much style and so little shame.