(A programme of McNally’s works in the Linbury would be an interesting prospect.) While it’s good to see that the choreographers here are returning to Draft Works for further experiments, it’s a pity there are no new names coming forward to join them.ĭraft Works has proved an important springboard for creativity. Ludovic Ondiviela did a number of pieces for earlier runs before deciding he wanted to leave the Royal and move into a career as a freelance choreographer. It’s a shame that the company can’t set aside a little time for further preparation and development. Presumably this accounts for the reduced number of works offered overall, which make up a programme of just over an hour.

However she said in her introductions that the pressures of the schedule (the Royal has been very hectic this year) meant that she simply didn’t have time. In previous years works from Kristen McNally have been real highlights. There were just five pieces on this bill, less than the nine or ten items often found in the past. This year‘s highlight was an exuberant piece from Marcelino Sambé which provided a lively closer to an otherwise rather downbeat programme. Sometimes this looks very classical in style, sometimes not. Participants can try out anything that takes their fancy. It’s very plainly presented without fancy costumes or lighting, but it has in the words of Kristen McNally, the presenter for the evening, “no rules”. These short works are choreographed by members of the company who volunteer for the task and recruit other dancers in the company to take part, preparing the performance in their free time.

You are never sure what will turn up at The Royal Ballets annual Draft Works programme and that’s part of its appeal.

(Click image for larger version)Įlégie du Souvenir by Valentino Zucchetti © Dave Morgan, courtesy the Royal Opera House. Marcelino Sambe’s Dez Days (in front: Anna Rose O’Sullivan, Luca Acri, Matthew Ball behind Téo Dubreuil, Maria Barroso).

Ballet royal opera house 2015