Tulsa ballet review: Effervescent, energetic and American-made ★★★★

The United States is blessed with many prestigious dance companies dotted across its land. Some, such as the New York City Ballet and American Ballet Theatre are world-renowned; other, lesser-known companies do sterling work in showcasing the beauty of ballet in smaller towns and cities. Tulsa Ballet, based in Oklahoma, is one such example. On its UK debut at the Royal Opera House’s Linbury Theatre, it brought a mixed bill under the heading “Made in America”.

On opening night the performance began with Classical Symphony, set to music by Sergei Prokofiev and with choreography by Yuri Possokhov. It is the perfect work to display the talents of this small company: effervescent and full of energy. The dancers are admirably secure in technique, with some fine elevation and plenty of speed. They eat up the space on the Linbury’s small stage – at times I was worried they might crash into each other and would love to see them dance in a more generous arena. The costumes deserve a mention: Sandra Woodall’s tutus are two-layered, minimalist structures rather than the frothy confections we are more familiar with and they look very effective.

The second piece on the programme was Nicolo Fonte’s Divenire. Danced for the most part on demi-pointe, the dancers ebb and flow in swirling patterns to Ludovico Einaudi’s hypnotic rhythms. All very pretty, with some interesting lifts added into the mix.

The evening closed with the moving Remember Our Song, by Andy Blankenbuehler (who was responsible for the choreography in Hamilton). Telling the story of seven service men in a submarine during the Second World War, it focuses on how they long to return to their loved ones. Were it not for the occasional “ping” in the music, suggesting the familiar sonar pulse used underwater, it would be difficult to deduce that this all takes place on a submarine – there is no real feeling of claustrophobia. There is some narration over the music, but it is sometimes hard to discern the words. The dancing is less ballet and more Gene Kelly, and there is a winning 1940s vibe to the music and costumes.