A TRIPLE BILL OF INNOVATION AND EMOTION AT SADLER’S WELLS

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes | Press Invite

Scottish Ballet’s return to Sadler’s Wells with Twice-Born was nothing short of a revelation. This triple bill, featuring short film ‘Dive’ by Sophie Laplane,  ‘Schachmatt’ by Cayetano Soto and the titular ‘Twice-Born’ by Dickson Mbi, showcased the company’s versatility, technical prowess, and commitment to pushing the boundaries of contemporary ballet. The evening was a masterclass in storytelling through movement, with each piece offering a distinct yet complementary exploration of human emotion, identity, and transformation. I loved it but it was certainly distinct parts, modern world and the mythical one and I enjoyed visiting both. 

The night began with the short film ‘Dive’ which was inspired by the art of Yves Klein and invited us to ‘dive into the complexity that lies beneath the surface of simplicity’. Personally, as you know I always have to put my 20p thoughts into everything, I really connected to this film from a neuro spicy ADHD level …masking everyday takes a lot of work, especially if your brain never shuts up, ever. Relatable content basically. The colours and the costumes were a delight especially the tooth hats. I want one. 

This was followed by Schachmatt, a vibrant and playful work choreographed by Cayetano Soto. Set to a lively soundtrack of Spanish and French music, the piece was a delightful homage to Bob Fosse, infused with Soto’s signature wit and precision. If you know me, then you know that description is basically most of my favourite things plopped into a cauldron and manifested into a show. I LOVED IT. I’d happily sit through a three hour show of just that. The dancers, clad in Debbie Duru’s sleek grey costumes adorned with ties and riding hats, moved with razor-sharp synchronicity, their bodies contorting and snapping in ways that were both humorous and hypnotic. The giant chessboard stage design by Soto himself added a layer of visual intrigue, transforming the dancers into pawns in a game of strategy and seduction. The ensemble’s energy was infectious, and the audience responded with rapturous applause, clearly charmed by the work’s cheeky irreverence and technical brilliance. The show had a delightful undercurrent of humor and yes, I wanted every single outfit. Superb. 

After the intermission, the stage was set for the main event, Twice-Born, Dickson Mbi’s groundbreaking commission for Scottish Ballet. Mbi, celebrated for his fusion of hip-hop and contemporary dance, delivered a work of profound emotional depth and technical innovation. Drawing inspiration from ancient parables, Twice-Born tells the story of a matriarch’s sacrifice and rebirth, intertwined with a young person’s journey of self-discovery. Mbi’s original score, a haunting blend of orchestral and percussive elements, provided a rich sonic landscape for the dancers to inhabit. Yes, on top of choreography and direction, Dickson Mbi also composed the music. I was truly astounded and would be remiss if I didn’t highlight just how blooming fantastic that score was. It was a triumph…as someone who lived with a sound producer for many years, I was astounded at the amount of work and love that Mbi put into this show. Wow. I, on the other hand, struggle to send an assertive email….anyway…

Ruby Law’s set design was a character in itself—a craggy rockface adorned with hidden runes, illuminated by Jessica Hung Han Yun’s evocative UV lighting. Ah the lighting was french kiss fabulous. The boulders scattered across the stage became dynamic props, rising and falling with dramatic effect, while the dancers interacted with them in ways that felt both primal and poetic. The choreography was a testament to Mbi’s unique movement vocabulary, blending the grounded physicality of street dance with the fluidity of contemporary ballet. The ensemble moved as one, their synchronicity breathtaking, yet each dancer brought a distinct emotional intensity to their performance. The entire cast were magnificent. 

Marge Hendrick, in one of the principal roles, was a commanding presence, her movements imbued with a sense of gravitas and resilience.  Opposite her, Rishan Benjamin delivered a performance of astonishing athleticism and grace, particularly in a moment where she seemed to defy gravity, soaring through the air with effortless precision. Dear reader, I gasped and fell in LOVE. What a performance. Together, they anchored the narrative, guiding the audience through a journey of loss, transformation, and renewal. 

The evening was a testament to the collaborative genius of the creative team. Debbie Duru’s costumes, Jessica Hung Han Yun’s lighting, and Ruby Law’s set design all contributed to the immersive world of Twice-Born, while Mbi’s choreography and score elevated the piece to a transcendent experience.

Scottish Ballet has once again proven itself as a company unafraid to take risks, blending tradition with contemporary flair to create works that are as thought-provoking as they are visually stunning.

If you have the chance to catch this Triple bill, don’t hesitate—it’s a rare and unforgettable theatrical experience. Bravo to the entire cast and creative team for a night of dance that was truly twice-born: once in its conception, and again in its breath-taking execution.

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Photo Credit: Andy Ross

CAST AND CREATIVES

Twice-Born

Direction, Concept & Choreography: Dickson Mbi
Original Music: Dickson Mbi
Set Designer: Ruby Law
Costume Designer: Debbie Duru
Lighting Designer: Jessica Hung Han Yun

Schachmatt

Choreographer: Cayetano Soto
Set, Costume & Lighting Designer: Cayetano Soto
Music Credits: Rina Ketty, Michel Le Grand, Jack Constanzo, Monna Bell, María Teresa Lara – Toña La Nega & Los Panchos

Dive

Co creator and Choreography: Sophie Laplane
Co creator: James Bonas
Director: Oscar Sansom
Music: Franz Schubert, Walter Wanderley, Lucy Allan