STAGE ENGLISH NATIONAL BALLET: REUNION

★★★★ ballet.org.uk, Sadler’s Wells until May 30

Reunited and reignited on stage, the English National Ballet unleash five shorts which debuted online during lockdown and are still available on demand.

Cheers of joy rang out as the curtain rose on a night of varied delights, including the exuberant fun of Take Five Blues. Set to energised jazz and classical strings, eight dancers appear to spontaneously play off each other in everchanging configurations that give everyone a chance to shine.

In contrast, Echoes is wreathed in shadows, pierced by fractured overhead light like moonlight diffused underwater. The dancers swirl like dervishes to Arabic woodwinds and horns. Absolutely mesmerising.

The roof-raising finale is 24-year-old choreographer Arielle Smith’s Jolly Folly, an infectious romp riffing on silent movie slapstick, the eight sensational dancers dressed in Charlie Chaplin Little Tramp tuxedos. Soundtracked by euphoric Cuban remixes of The Blue Danube and the Sugar Plum Fairy, it’s absolute heaven and guaranteed to put a much-needed smile on all our faces.

THE ROYAL BALLET: 21ST CENTURY CHOREOGRAPHERS

roh.org.uk, Royal Opera House until May 30, live stream on May 28, available on demand until June 27

Christopher Wheeldon’s glittering Within The Golden Hour opens a dynamic mixed bill. Flawlessly danced, it pays beautifully intricate homage to the glorious age of classical choreography.

Three new pieces for the company

follow, showcasing the depth of on-stage talent.

Crystal Pite’s Solo Echo is packed with remarkable interlinking body formations against a black backdrop and a glittering waterfall of tiny lights.

Her jaw-dropping The Statement, though, steals the show. Set to a spoken word soundtrack of a shady corporate power play, every syllable is embodied by the extraordinary dancers in almost cartoonish extremes of body-locking and contortions. Utterly original and staggeringly good, the crowd roared its approval on the opening night.