Review: STILL POINTLESS: BALLETBOYZ at Sadler’s Wells

The title is a reference to the troupe’s first production Pointless which was performed at the Roundhouse at Camden a quarter of a century ago! It’s easy to feel one’s age (and increasing alarm) with such milestones nowadays cropping-up with inevitable regularity.

Newly formed by former Royal Ballet dancers Michael Nunn and William Trevitt, the company members back in 2001 were determined to make an impact, performing complex close-body pieces like Russell Maliphant’s Critical Mass from 1998. For this short-run retrospective at Sadler’s Wells, many of the collective’s original commissions have been dusted-off for the enjoyment of a whole new generation — or indeed, oldies like me, who appreciate a bit of nostalgia.

Dancer Seirian Griffiths who performs with the company, is finding his feet as a choreographer and if Motor Cortex is any indication, he certainly has a strong and individual voice albeit that the style of his piece fits seamlessly with BalletBoyz’ established dance vernacular. For me, the work evoked thoughts of sub-atomic particles and the valency of molecular connections, constantly breaking and reforming in multiple combinations. The work for 8 dancers was both intensely dynamic and transfixing. 

Other works which impressed with their finesse and fluidity included Ripple from 2020 by Xie Xin which benefitted from a constant overhead projection of water undulations to set a compelling rhythm, and Serpent by Liam Scarlett from 2013. Meanwhile, the harrowing and indiscriminate nature of brutality experienced in a war setting is tackled in Iván Pérez’s Young Men from 2015, which sadly, seems as relevant today as ever. 

If there were marginally disappointing inclusions in the programme, for me they were Malliphant’s slightly phoned-in work Fallen from 2013, and Maxine Doyle’s Bradley 4:18 which despite some original ideas failed to land a substantial and recognisable narrative. Far stronger was Christopher Wheeldon’s deliberately ambiguous relationship Us from 2017, which is pure visual poetry in motion. Finally, the crowd pleaser Fiction from 2016 comically deploys choreographer Javier de Frutos’s own imagined obituary (haltingly read aloud by Jim Carter) as the dancers use a rehearsal room barre to create cascades and spectacle.

Interspersed throughout the show, were moments of archive footage from the company’s many collaborations, which added context and playfulness to the creative team’s journey. The end result is a thoroughly captivating evening celebrating the BalletBoyz gift which keeps giving. It is to be hoped that Messrs Nunn and Trevitt (who were clearly enjoying themselves working the opening night room during the interval), will continue with their winning formula for at least another 25 years.

The Talent - the dancers appearing in this production - include: Joshua Attwood, Dan Baines, Paris Fitzpatrick, Seirian Griffiths, JJ James, Dylan Jones, Benji Knapper, Luigi Nardone, Kai Tomioka and Yasset Roldan.

STILL POINTLESS runs 2 hours 15 mins (with a 20min interval) and after leaving Sadler’s Wells will continue on tour at various venues until 11th July.