The National Youth Dance Company (NYDC) is England’s national youth dance company, run by Sadler’s Wells. It brings together talented dancers aged 16–24 from across England to train, create, and tour original work with leading choreographers and dance companies.
Review by Richard Lambert
The dance performance starts with a male dancer who appears to be convulsing. He touches another and passes it along. The twitching is then passed back and forth. I wondered if this was an introduction to the evening, a prologue, to enact the ebola virus that’s currently sweeping the African continent. Not sure. And to be honest, I have to say I’m not sure about any of the evening and what was going on.
A dramaturg is credited in the programme, yet I found myself puzzled throughout much of the work and, upon reflection, struggled to identify a clear thematic or narrative thread. There was a time when audiences might leave a performance and simply dismiss its ambiguity with the phrase, “Well, that was contemporary dance.” Contemporary choreography has evolved considerably since then, with many works now seeking to communicate ideas, stories or emotional journeys through movement.
This piece, however, appeared unconcerned with such conventions. Rather than offering a discernible narrative arc, exposition or sense of progression, it unfolded as a series of images and movement sequences whose meaning remained elusive. While some audience members may appreciate this openness to interpretation, others may find themselves searching for a greater sense of purpose or connection within the work.
Among the performers was a wheelchair user whose command of movement was extraordinary. Their upper-body articulation, remarkable speed, precise turns and powerful control of momentum created some of the evening’s most captivating moments. It was a mesmerising performance, delivered with both technical skill and artistic sensitivity.
The production was further enriched by the individual talents of the company members. One dancer incorporated live drumming, while another contributed passages on a wind instrument. These personal contributions brought additional texture and character to the work, adding welcome layers of individuality to the collective performance.
The costumes were often difficult to distinguish through the two-tone lighting and persistent haze, although they appeared to follow a cohesive palette of auburn and steel tones. Similarly, the lighting design obscured some of the movement detail, though this may well have been a deliberate artistic choice. The softened visual aesthetic perhaps helped mask the fact that not every formation was perfectly aligned and not all ensemble sections achieved complete military-style precision.
The score maintained a strong rhythmic pulse throughout, making the moments when dancers entered and exited the stage out of time with the music feel particularly noticeable. These transitions, used to reset the staging, occasionally disrupted the flow from an audience perspective.
That said, the programme notes reveal that the company had just 28 days of rehearsal. Given that the dancers were drawn from a wide range of training backgrounds and dance schools, the level of cohesion, commitment and collective performance achieved in such a short period is highly commendable and deserving of recognition.
The audience clearly relished the evening, and the talent displayed on stage was undeniable. At its best, the performance showcased the dancers’ exceptional skill and commitment. However, there were moments when the choreography felt like a sequence of impressive movements without a clear sense of purpose or narrative intent, which ultimately lessened its overall impact.
Photo credit: Elly Welford
DanceEast, Ipswich Saturday 11 April at 7.30pm
Sadler’s Wells, London Saturday 30 May at 7:30pm
Leeds Playhouse, Leeds Saturday 27 June at 7:45pm
AMATA, Falmouth Tuesday 14 and Wednesday 15 July at 7:30pm
Sadler’s Wells East, London Saturday 18 July 7:30pm
Belgrade Theatre, Coventry Thursday 23 July at 7:30pm.
Running time: Approx. 70 mins (no interval)
NYDC Dancers Ellie Bamber, Lucy Bosworth, Kenya Bowry,
Isabelle Cerna, Daniel Cort, Kitty Crook,
Lewis Cuming, Antony Dearlove, Dylan Duharty,
Jonathan Dyer, Abri Holmes, Sona Jawara,
Amelia Leone , Lola Mair, Coco Missen,
Aimée Morgans, Isla Morris, Michael Omoruyi, Jay
Philips, Elliot Twum, Amelie O’Hanlon, Emmanuel
Owusu-Boachie, Amelie Poulter, Charlie Ratcliffe,
Lily Alba Reyes, Liv Midgley, Jack Shelton, Zak
Michael Kwaku Smith, Nya Steward, Hannah Tittle,
Zachary Turner-Powell
Creative Team NYDC 25/26 Guest Artistic Directors and
Choreographers Kristina and Sadé Alleyne
Composer Giuliano Mordarelli
Music Design Sadé Alleyne
Lighting Design Salvatore Scollo
Costume Design Ryan Dawson Laight
Stage Design Emanuele Salamanca
Dramaturge Dr Fiona Graham
Rehearsal Directors Iro Konti,
Robert Dunkley-Giyamah
Costume Makers Jordan Edwards, Kate Healy,
Andy Roberts, Julie Sayers and Katie Vacara
Wardrobe Assistant Joshua Cartmell
Producers Christopher Haddow and Bia Oliveira
Production Manager Adam Carrée
Touring Production Manager & Relighter/ LX
Programmer Matt Carnazza
Head of Sound Zak Nicholls
With thanks to LionHeart, Jamaal O’Driscoll and Jacob Neff
Executive Producer for Alleyne Dance Grace Okereke