The English National Ballet’s Tribute to Roland Petit

Stilettos, ready! To keep the audience entertained, the postwar French choreographer Roland Petit resorted to high jinks, low jinks, whatever jinks he could summon. He’s a one-man, nonstop coup de theatre. Petit’s women, long-legged and aloof, aren’t asked to be graceful so much as dangerous and strange: they slither, prance and stamp, opening and closing their knees in insectoid twitches and mechanical jerks. It’s as if they are perched on high-heeled toes. The men must earn advanced degrees in acrobatics (with post-graduate liniment for their abused muscles) to perform Petit’s Cirque de Soleil cartwheels, tumbling, and feats of strength (such as forming a human bridge for the ballerina to stretch out on — at least she doesn’t walk over it in stilettos). These antics were on display in a triple bill mounted by the ever-ebullient English National Ballet, the romping younger sibling of the Royal Ballet, which soberly covets its right of primogeniture.

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