The Tulsa Ballet, a small yet formidable dance company from Oklahoma, has made its long-awaited debut in the United Kingdom, performing at the Linbury Theatre within the Royal Opera House in London. Celebrating 70 years of existence, the company has been under the artistic direction of Italian Marcello Angelini for the past three decades. Angelini's rigorous standards are evident in the polished performances of his dancers, which include talents from across the Atlantic, such as Englishman Edward Truelove and Scot James Lachlan Murray.
Classical Symphony: A Neoclassical Triumph
The evening's opening piece, Classical Symphony, choreographed by Yuri Possokhov—a Ukrainian choreographer now based at the San Francisco Ballet—sets a high bar. Set to Prokofiev's music, Possokhov's neoclassical work incorporates subtle flexibility, from cheeky hip rocks to other off-piste details, all while maintaining an overarching grace. Lead dancers Nao Ota and Jun Masuda navigate the tricky, technical choreography with absolute ease, executing a long continuous flurry of steps with breezy elegance and precise articulation.
Divenere: A Symbiotic Dance with Einaudi's Music
The second piece, Divenere by Nicolo Fonte, is deeply intertwined with the music of wildly successful pianist Ludovico Einaudi, known for his pop-classical style of emoting through arpeggios. The choreography mirrors the music closely: when the music is pretty but amorphous or insipid, the dance feels similarly vague; but when the music becomes more focused, melodic, spacious, or questioning, the dance follows suit. A solo by Masuda stands out as particularly compelling, showcasing his ability to convey deep emotion through movement.
Remember Our Song: A Swift Musical Theatre Narrative
The programme concludes with Remember Our Song, choreographed by Andy Blankenbuehler, famed for his work on the musical Hamilton. Blankenbuehler condenses an entire musical's storyline into a swift 15 minutes: boys off to war, the sweethearts they leave behind, life in the navy, an underwater crisis, and memories of home. While Blankenbuehler excels at mobilizing bodies across the stage, investing in character within such a short timeframe proves challenging. The 1940s mood draws on jazz, swing, and a touch of Charleston, with Teague Applegate delivering elegant verve in the central role, though one wishes to see him fully unleash Gene Kelly-style energy.
An Impressive Showcase of Versatility
Overall, this triple bill is designed to highlight the company's versatility across three relatively short pieces. The Tulsa Ballet's first UK visit is a testament to its impressive range and technical prowess, making for an engaging evening at the Linbury Theatre. Performances continue until 17 May.
