Cambridge Arts Theatre, Cambridge – Wednesday 7 October 2026
Reviewed by Steph Lott
5*****
London City Ballet‘s mixed bill at Cambridge Arts Theatre offers audiences a compelling bridge between classical heritage and modern contemporary movement. Four very different pieces—ranging from playful classicism to profound meditations on mortality—showcased the breadth of ballet and the extraordinary fragility and strength of these remarkable dancers.
The programme varies depending on which performance you attend, but this is what I saw.
Mephisto Waltz Ashley Page’s “Mephisto Waltz” opened the performance with exactly what I associate with ballet: graceful, playful movement, perfectly complementing Johann Strauss II’s music. The dancers moved with such elegance, and beautiful costumes added to the sense of joy. It was accessible, charming, and a wonderful way to begin the programme.
Soon Tasha Chu’s “Soon” presented a complete emotional shift. This intimate duet between Sahel Flora-Pascual and Siméon Sorange-Félicité felt like witnessing something intensely private. Opening with a sombre couple standing before a figure in a white coat—a doctor? —who promptly leaves the stage, the piece captures the anticipation of grief. Set to Sam Robinson and Gavin Bryars’ haunting “Jesus’ blood never failed me yet,” the couple wrap themselves around each other, as they digest the information just imparted. The strategic lighting and brown, shadowed staging create an atmosphere of introspection. Like the evening’s other contemporary pieces, it profoundly affects the viewer.
Quiet City Jerome Robbins’ “Quiet City” deepened this meditative feeling. Set to Aaron Copland’s melancholic 1940 score, this work—created in 1986 in memory of New York City Ballet dancer Joseph Duell—features a central male figure accompanied by two men (Joseph Taylor, supported by Samuel Barzaghi and Arthur Wille) and watched over by nine mourners. Robbins’ polished classical choreography evokes a stately, reverential farewell. Taylor gracefully moves through searching, yearning sequences while beautiful shapes and poignant moments punctuate this soulful work. Another profoundly affecting piece suggesting a bridge between life and death.
Firebird Glen Tetley’s “Firebird”, set to Stravinsky’s iconic score, was the evening’s showstopper. Tetley created a contemporary twist to this classical work which is perfectly performed by this cast. Ellie Young lights up the stage as the Firebird, dance flowing from her strong and impossibly flexible form. It is impossible to take your eyes off her. Her duets with Ivan (Joseph Taylor) crackle with chemistry and genuine connection. Arthur Henderson is suitably creepy as Kotschei, the threatening patriarch.
Olivier Award-winning designer John MacFarlane’s revived costumes for this piece are stunning: from Kotschei’s skeletal, unsettling form to the Firebird’s vibrant red, yellow, and orange streaks. Behind them, a projected backdrop shifts imperceptibly through bruised blues, greys, and muted autumnal tones. This adds to the unsettled atmosphere of this piece.
Throughout, I was struck by how ballet dancers embody a paradox: simultaneously delicate and extraordinarily strong. This programme brilliantly showcased that duality. Definitely go and see London City Ballet if you get the chance. This is the second time I have seen them at the Cambridge Arts Theatre and I am so pleased for them that their revival is going so brilliantly.