Gala de Danza, London
Cesar Corrales and Francesca Hayward in Onegin Act 3 Final pas de deux © The LK Studio
Recently I have been mulling over what would create the perfect dance gala.
Having been to a few over the past couple of years, I will be the first to admit that they are a hard thing to produce. You have to gather the right dancers and pieces of dance to create a night that will please everyone, from the contemporary aficionados to the classical snobs. I have concluded that to curate a truly great gala programme, it needs a theme. Something to tie everything together to avoid it getting a little random.
The inaugural London Gala de Danza, for all its advertising of a glamorous night out experiencing the best of the arts, fell slightly on the wrong side of random.
Founded and hosted in Brazil since 2013 by its creator, former American Ballet Theatre dancer Christina Lyon, there was huge excitement in the air for the gala’s International debut (there are plans for future shows in the Middle East and Egypt). Many a ballet star and director was spotted amongst the diamond-encrusted crowds making their way to their seats inside the church-come-performance space Central Hall Westminster.
Anton Sboev & Patrizia Ranis - Rumba © The LK Studio
After a booming voice welcomed us to the show, the night opened with Saxophonist Megan Glover playing Vivaldi’s Winter (this was a celebration of all the Arts, down to the food served afterwards to higher-paying guests). Over the next two hours, we blitzed through a variety of artistic endeavours. Dance group Murmuration thrilled us twice with their slick, in-sync routines; William Close played the huge Earth Harp; stars from various ballet companies (Principal level and otherwise) shone in both contemporary numbers and gala-favourite duets; star counter-tenor Jakob Józef Orliński performed stunning solos; Marcin played every part of his guitar with fantastic showmanship; and (the reason I was there) British Latin Champions performed a Paso Doble and Rumba.
Exhausted yet?
The night flitted around all over the place and, to be honest, felt like it was both trying to do too much and not enough. The repetitive use of some acts felt like a wasted opportunity to highlight multiple opera singers, dance groups and ballroom dancers. The promised art displays were, from what I saw, limited and hidden in communal areas where they went largely unnoticed. And on top of all that, the night ALSO had a philanthropic angle. The Gala provided performance opportunities to students, whether that was shining tween Spencer Collins performing the cutest Franz solo from Coppélia or Youth American Grand Prix competitors performing the result of a Swan Lake workshop.
These tickets were not cheap. They started at £50. And to be honest, I started to wonder, rather cynically I’ll admit, if I’d been conned. Because this was not the production quality I would expect from a show entering its 12th year nor one marketed on luxury. The venue also didn’t help matters. The stage was a huge box-like structure lifted a good meter off the floor in front of an organ. The setting was unique, but it also felt awkward. With so many beautiful theatres in London, it’s a shame something a little more purpose built couldn’t have been chosen.
Shale Wagman in Flames of Paris © The LK Studio
That isn’t to say it was a complete sham.
The easy standout was my ongoing favourite discovery of the year: Shale Wagman. Dancing with rapidly-rising star of The Royal Ballet Viola Pantuso, his solo during the Flames of Paris Grand Pas De Deux was as thrilling as ever. Meanwhile Viola proved why she’s been given so many principal roles this year, despite her junior position in the company, with flitting and precise movements.
Emma Evelein’s new piece for Rambert (which saw suitcases quickly dumped for movement which sat somewhere between locking and lyrical contemporary) was miles better than the company’s last programme and really showed off the dancers’ skill. My goodness they have talent.
Finally, Anton Sboev and Patrizia Ranis’ Rumba and Paso Doble were rare treats (performances of ballroom and latin dance are none-existant outside of the Strictly bubble) performed with skill and precision, although lacking chemistry at times. More please!
With clearer marketing and improved curation, this has the bones of something excellent. I look forward to seeing how this international tour develops.
★★★
Gala de Danza
Central Westminster Hall, London / 26 June 2025
Press ticket
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