Germán Cornejo’s Tango After Dark

Last Updated on November 6, 2026

Where the Soul of the Tango Went to Die

2.0 out of 5.0 stars

Germán Cornejo’s Tango After Dark marks the return to a Sadler’s Wells stage of the tango champion dancer and choreographer and his company of dancers and musicians after a long absence. Time was when the tango was a popular, sell-out staple of Sadler’s Wells’ programming, regularly taking over the Peacock stage for relatively long residencies: shows like Cornejo’s own Tango Fire and Immortal Tango, for example, alternating with those of Miguel Angel Zotto, whose Tango por Dos remains a cherished memory. Since the Covid lockdown, though, tango had not been seen on any of Sadler’s Wells four stages until now.

Born in the demi-monde of Buenos Aires, the Argentine tango is essentially a small-scale, intimate, intensely sexy dialogue between two partners, a continuous, teasing, suggestive sensual invitation, where power alternates constantly between the two partners. Its dark promise, forever on the edge of fulfilment, is tantalising to watch; but, of course, it doesn’t travel well. A better traveller is the Ballroom Tango, an expansive, theatrical show-off derivative of the original, which is essentially the basis for the touring spectaculars Germán Cornejo specialises in, of which Tango After Dark is the latest iteration.

Germán Cornejo’s Tango After Dark brings together five musicians anchored by the quintessential tango instrument, the bandoneon, two singers, the very powerful Vanina Tagini and Jesus Hidalgo, and 10 dancers, led by Cornejo himself and his partner Noelia Pizzo.

Cornejo’s former long-term partner, the excellent dancer Gisela Galeassi, is now credited only as co-choreographer. As I remember, Cornejo and Galeassi used to dance with interesting, rather engaging mutual chemistry; sadly, chemistry is entirely absent from all the performances of Tango After Dark.

The opening is promising: we first hear the unmistakable, transporting sound of the bandoneon, as the stage lights go up and a disembodied female voice bids us “Bienvenidos a Buenos Aires!” It goes on to say the music for the show is inspired by the great Astor Piazzolla, one of the most influential tango composers of the 20th century. Then five couples take to the stage for an ensemble dance that sets the scene for what’s to come for the next two hours or so.

And that’s when my apprehension first set in. There was a mechanical feeling to everything, with some of the dancers’ faces set in an unchanging rictus, looking as if they’d rather be anywhere else… Don’t get me wrong: all are technically proficient dancers, capable of the kind of acrobatics which the rather unimaginative choreography demands, but nobody conveyed the sense that their hearts were in it.

This disheartening feeling persisted throughout the performance, with individual numbers, normally designed to show the particular speciality of each couple, blending formlessly with the ensemble numbers. When in doubt, throw in a high kick, or get the man to throw the woman over his shoulders. Go for exaggerated sultry poses, deep backbends, split lifts. Acrobatics rule; subtlety not so much, and as for soul, well, that’s surely too much to ask for.

A mind-boggling number of costume changes for the women brought tonnes of sequins, glitter and rhinestones over black or red, with an all-white finale, providing the kind of visual variety we didn’t get from the dance. On the plus side, the five-strong band – piano, double bass, violin and percussion as well as bandoneon – did a sterling job with a musical score that ranged from the traditional to the more jazzy contemporary; and the singer Vanina Tagini brought the power and emotion the dancing part of the show so sorely lacked.

Germán Cornejo’s Tango After Dark is at Sadler’s Wells 5 – 9 November at 7.30 pm. Sat mat 2.00 pm. Sunday 2.00 pm only
Dur.: 2 hours inc one interval Tickets: £15 – 65 (+ £4 transaction fee)

Sadler’s Wells Angel
Rosebery Avenue
London EC1R 4TN