Body & Soul – English National Baller at Sadler’s Wells Theatre

Precision, power and passion in a bold new wave of contemporary dance

Two striking premieres sit at the heart of Body & Soul, a bold and thought-provoking programme from English National Ballet, presented at Sadler’s Wells Theatre. With choreography by Crystal Pite and Kameron N. Saunders, the evening interrogates how we process the world around us; physically, emotionally, and socially through movement that is both intellectually engaging and visually arresting.

This double bill also carries notable support: Body & Soul at Sadler’s Wells is backed by Cockayne Grants for the Arts, held at The Prism Charitable Trust, while Body and Soul (Part 1) is generously supported by the Canadian Beaverbrook Foundation and the High Commission of Canada in the United Kingdom. That sense of investment is evident in the scale and ambition of the work presented.

Body and Soul (Part 1)
As the safety curtain rises, we are met with a stark black box stage; minimal, almost clinical. A French voiceover, delivered with clarity by Marina Hands, begins as a soft overhead light reveals two figures. In this opening section, performers Jose María Lorca Menchón and Fabian Reimair establish the tone with precise, almost instructional movement. The narration, simple and rhythmic “left, right, left” guides the dancers’ actions, or perhaps mirrors them.
Even for those without fluent French, the meaning is clear; the choreography carries the narrative. What begins as an intimate duet expands into a full ensemble, featuring a remarkable collective including dancers such as Alice Bellini, Ashley Coupal and Minju Kang. All move with astonishing precision.

Pite’s choreography feels almost architectural. Patterns emerge, dissolve, and reform, with bodies flowing between rigid unison and organic fluidity. The monochromatic aesthetic, costumes by Nancy Bryant, heightens this with flashes of white cutting through the darkness.
One particularly beautiful sequence evokes crashing waves: dancers push against one another in a long line stretching coming down the stage. The white accents flicker like sea foam, while the score by Owen Belton subtly shifts from naturalistic sound into something more human and urgent. What begins as serenity evolves into struggle, and that transition is mesmerising.
There is also an undeniable political undercurrent. The trench coats, the covering of mouths, the militaristic precision, these images suggest surveillance and control. Through this, Pite creates a work that is both accessible and deeply layered, inviting interpretation without dictating it.

Proper Conduct
Before even considering the choreography, it must be said that the lighting design by Joshie Harriette is exceptional. Within the same black box framework, lighting becomes the primary storytelling tool, shaping space and mood without overshadowing the performers.
The piece, choreographed by Saunders with music by Brandon Finklea and Harold Walker III, and performed live by the English National Ballet Philharmonic under Maria Seletskaja, immediately feels more personal and eclectic.
The opening sequence, where lights extinguish one by one as a performer moves upstage is deceptively simple yet highly effective. It reflects Saunders’ attention to detail and collaboration with his creative team, including assistant choreographer Prince Lyons and designer Kimie Nakano.

As the piece unfolds, lighting becomes increasingly dynamic, with colour flooding the stage through haze. A particularly striking moment comes towards the end, when the lights begin to twinkle; not illuminating the performers directly, but transforming the auditorium’s atmosphere into something almost celestial.

Narratively, Proper Conduct blends comedy, politics, and social commentary. A central MC-like figure, performed with commanding presence by dancers such as Gareth Haw, guides us through shifting scenes. At times futuristic, almost otherworldly or an automaton, this figure challenges us to question what we are seeing.
There are moments of pure joy, with vibrant ensemble work featuring dancers such as Sangeun Lee and Rentaro Nakaaki, but Saunders quickly complicates this. A more provocative section introduces a lowered light bar, creating a sense of confinement, as performers move in close, intertwined formations. The sound design here is particularly immersive, with breath and music travelling around the auditorium.
Technically, the choreography is equally impressive. A sequence of ‘chair lifts’ executed by a number of the company’s artists in canon, is both visually striking and physically demanding, showcasing the strength and control of the ensemble.

The monochrome thread returns in costuming, with white-clad figures wearing visors, reinforcing themes of conformity and artificial identity. The staging evolves too: the black dance floor is stripped away piece by piece, revealing a stark white beneath, while walls rise to reshape the space entirely. It is a clever visual metaphor for exposure and transformation.
Body & Soul is an ambitious and visually compelling evening of dance that successfully balances intellectual depth with theatrical spectacle. While the two works differ significantly in tone and style, they are united by a shared exploration of identity, control, and the human condition.
Pite offers precision and collective power; Saunders delivers personality and innovation. Together, they create a programme that is as thought-provoking as it is visually stunning.

Photo Credit ASH