In the very long list of reasons why Ballet Nights is so special, top of the pile is ‘once seen, never repeated.’ Like a magical creature that appears to affect change, then disappears in a cloud of smoke, this industry disrupter is different in every location. Such is the nature of the talent procured for each performance, that they’re too busy or in-demand elsewhere to set off on a Ballet Nights tour. But, for one night only, this beautifully curated new creation is all yours.

In Glasgow, a packed line-up of 11 short performances was served up like a delicious banquet that leaves you satiated but not over-full. Solos, duets, trios, and one large group piece deliver a mix of classical ballet, modern dance and live music, with each piece distinct from the last. In fact, the only thing they had in common, was quality. Three former Scottish Ballet principals made a glorious return to the Theatre Royal stage: Constance Devernay-Laurence performed Christopher Wheeldon’s ‘I Married Myself’, Eve Mutso danced an excerpt from Peter Darrell’s Five Rückert Songs, and Sophie Martin was joined by Joan Ivars Ribes for David Dawson’s pas de deux ‘On The Nature Of Daylight’ (set to music by Max Richter, this last piece may well be the most sublime dance performance I’ve ever seen). 

The Royal Ballet was represented by long-time company principal Steven McRae, who brought down the house with his self-choreographed tap solo ‘Czárdás’ (it transpires watching a highly trained classical ballet dancer do tap is one of life’s good things), and rising star Caspar Lench (pictured) whose rendition of Joshua Junker’s ‘324a’ was almost breathtakingly beautiful. Meanwhile, their training at the Alvin Ailey School has given modern dancers Nahum McLean and Darius Drooh (aka Blacbrik) a fluid, engaging style. Their highly entertaining duet ‘Death Of The Bachelors’, set to James Brown and Sam Cooke, has crowd-pleaser stamped all over it. Fresh from Glastonbury, Ekleido’s vogue-inspired duet ‘Splice’, set to the electronic sounds of Floating Points, took the show in an exciting new direction. As did Andrew Cummings’ Pina Bausch-inspired solo ‘Infant Spirit’, performed to the emotive vocals of Anohni.

Constance Devernay-Laurence, Kevin Poeung (Northern Ballet) and Tyrone Singleton (Birmingham Royal Ballet) lifted the roof with scenes from Elite Syncopations, Kenneth MacMillan’s popular celebration of Scott Joplin. And, with so many established artists on stage, it was wonderful to see the stars of tomorrow in the form of this year’s graduates of the BA Modern Ballet Programme at Royal Conservatoire Of Scotland, dancing a fiendishly difficult (for them, not us) work by former Scottish Ballet dancer Diana Loosmore. With live music dotted across the evening, special mention goes to pianist Viktor Erik Emanuel, mezzo soprano Dana Mays, and violinist Gillian Risi for their superb contributions.

Threading this rich tapestry together was host Jamiel Devernay-Laurence, the brainchild behind the entire Ballet Nights mission. He’s worked hard to procure the right blend of emerging and established talent, fashion a set-list of contrasting pieces, and deliver a tight programme where no act ever outstays its welcome. Imparting interesting information about who and what we’re about to see, his warm, jovial style feels like the perfect palate cleanser between courses. 

After its debut outing in 2023, Ballet Nights is steadily maturing into a force to be reckoned with. And, with new investors onboard and a growing recognition that this is precisely the format you need to expand the audience for dance, an increase in national and international dates looks likely. Which is good news for Jamiel Devernay-Laurence, for audiences lucky enough to see this gift of a show, and the dance world in general. 

Ballet Nights, Cadogan Hall, London, Wednesday 10 & Thursday 11 September; reviewed at Theatre Royal, Glasgow; pictures: Rimbaud Patron.