Morphoses

Debra Craine
March 25 2010 3:12PM

Christopher Wheeldon started well when he launched his new ballet company,
Morphoses, at Sadler’s Wells last week, but his second programme was even better
than the first. If this is what we can expect from him in future, when his troupe is up
and running for real (this was merely a taster to kick things off), we’re in for a treat.

The second programme began with Allegro Brillante, Wheeldon’s nod to the late
George Balanchine, whose company – New York City Ballet - did more than any other
to develop Wheeldon’s talent. Alexandra Ansanelli and Angel Corella as the lead couple
understood that this is a work built for pleasure and delivered ebullient performances,
especially Ansanelli, whose teasing musicality embodied her rebellious high spirits.

Allegro Brillante was the only ballet here not to feature Wendy Whelan, who otherwise
was the star of the evening. She brought hyperarticulation and a wayward mystique to
William Forsythe’s Slingerland pas de deux (partnered by Edwaard Liang) and a
stunning motherlode of emotion to Wheeldon’s After the Rain. Never have I see the
latter’s languid duet performed with such a powerful flood of sadness or such a
persuasive promise of renewal.

The highlight of the evening, though, was Wheeldon’s new Fools’ Paradise, a gorgeous
creation that moves from one moment of beauty to another. Part of its allure lies in
Joby Talbot’s scintillating music. His orchestral version of his Dying Swan film score
washes through the consciousness, slowly unfurling pristine melodies as it weaves a
seductively saturated atmosphere. It was wonderfully played by the Royal Ballet
Sinfonia conducted by Barry Wordsworth.

The ballet itself is luscious and dreamlike as the nine captivating dancers appear and
disappear like phantoms. The mood is abundantly romantic as each is touched by the
choreography’s enchantment, while a cascade of falling stars (leaves?) amid the dark
light turns potential kitsch into magic. The end is a sculpted tableau that suggests the
forging of a strong and permanent bond. And that’s as good a metaphor as any for
Wheeldon’s hopes for his new venture.

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