Last Updated on April 18, 2026
Emerging Choreographic Voices at the Linbury
3.5 out of 5.0 starsInternational Draft Works is undoubtedly a good thing. A Royal Ballet initiative in collaboration with a number of international companies, every year it brings to London emerging choreographers from across the globe to meet, share ideas and showcase their work. The 2026 edition once again validated the project, offering a programme which was never less than interesting, even if, while some of the nine works on show truly stood out, others weren’t quite there yet. It’s not called Draft Works for nothing.
Undoubtedly, the most powerful piece of the evening came from Paris Opera Ballet. Entitled À perte de vue et au-delà (Beyond what the eye can see), it was choreographed by Maxime Thomas, who danced alongside Gladys Foggea.
Foggea is paraplegic and wheelchair-bound, something which is important in two ways: one, because the piece is an homage to the Guadeloupean writer Maryse Condé, who died two years ago, she, too, confined to a wheelchair by a progressive disease, and two, because the way in which Foggea moved her wheelchair, made her hands and arms dance and connected with her able-bodied partner was truly mesmerising. Danced to a section from Serge Gainsbourg’s ‘Les goémons’ and Fauré’s ‘Elégie en ut mineur op 24’, there was obviously tremendous affection between the two dancers and the way in which the choreography brought them together was intensely moving.
Next, I loved the offering from The National Ballet of Japan and choreographer Yoshito Kinoshita.
Entitled Re:sonance and danced to a score by Ludovico Einaudi, it was a flowing, harmonious pas de deux relying primarily on classical ballet language, beautifully danced by Ryosuke Morimoto and Haruka Soutome, whose mutual understanding raised the piece to another dimension.
The evening opened with a duet for two men choreographed by Northern Ballet’s Heather Lehan on Mozart’s crystalline ‘Serenade in G Major’. Under the title Staves, the two dancers – Noah Benzie-Drayton and Archie Sherman in black tail coats, white shirts and shorts – followed each bright note as if to give shape to the music, the choreographer’s inspiration being the staves on music sheets where the notes sit. The piece was jolly, danced with tremendous flair and very, very enjoyable.
National Ballet of Canada offered a zany duet called Gush and billed as “a bacchanalian pas de deux for two women and the things that make them sweat.” Choreographed by Alyssa Martin, its tone was immediately set by the score, composed by Meredith Monk, who offered her own energetic vocalisations over piano music.
It started with Agnes Su moving nervously downstage, watched by Tene Ward, who stood immobile clutching a drinks can; can disposed of, together they launched into a whirlwind of movement, that included ballet, contemporary and a touch of vogueing. It was fun, if slightly disconcerting – we’re told it is essentially research for an upcoming larger work for an ensemble.
Also coming across as the germ of an idea to be developed, but no less fascinating for that, was Words to the Wind, by The Royal Ballet Brazilian First Artist Denilson Almeida. Compellingly served by two of the most exciting young Royal dancers, Caspar Lench and Martin Diaz, it was danced to a medley of Brazilian popular music, the two dancers in ragged waistcoats facing each other sitting on chairs, their initial tropical lassitude developing into more physical confrontational movement.
Jersey-based Ballet d’Jèrri brought Katya Bourvis’s Flux, two duets from a larger work based on Jersey’s witch trials of the 16th century. Its tone as dark as the lighting; this excerpt suffered from being shown out of context.
The Royal Danish Ballet’s Houndstooth, choreographed by Carling Talcott-Steenstra and performed by Mads Blangstrup, Esther Lee Wilkinson and Kizzy Matiakis, was built around a series of philosophical questions ( eg, why is it so difficult to enjoy the present?) and came across more as surreal theatre than dance; it left me intrigued, but cold.
Norwegian National Ballet’s un:discovered, choreographed by Douwe Deckers had a feel of Scandi-noir about it, and for all the beauty of its three dancers – Silas Henriksen, Simon McNally and Nell Ramstad-Pedersen – and moody, creative lighting (Joshie Harriette), it didn’t quite make its case.
The Royal New Zealand Ballet’s Ultra Folly, was a quartet set to Renaissance music, a period denoted by unflattering ruffles around the dancers’ necks. Sarah Foster-Sproull’s intricate choreography celebrating the pleasures of friendship, was too reliant on whimsy to fully grip, but again, the dancers – Ana Gallardo Lobaina, Joshua Guillemot-Rodgerson, Kihiro Kusukami, Kirby Selchow – gave a creditable performance.
First presented in 2019, International Draft Works has carved its place in the Linbury calendar, always interesting, challenging and something to look forward to.
International Draft Works is at the RBO Linbury 16 – 18 April (returns only)
RBO
Bow Street
London WC2E 9DD
Check out our London Dance Previews – January to July 2026
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