Ballets 158

**Façade**, a ballet conceived in 1922, premiered in 1931 at the Cambridge Theatre, London. A collaboration between the dazzlingly talented Edith Sitwell and the masterful composer William Walton, this work stands as a timeless masterpiece, capturing the vibrancy of the Roaring Twenties whilst showcasing the genius of its creators. It is not a conventional ballet in the classical sense, however; it is a series of 17 tableaux vivant, choreographed to showcase Sitwell’s poem “Façade” – a whimsical, satirical, and wildly imaginative work celebrating modern life with a healthy dose of irony. This is not a story ballet, and has no plot, yet it offers a kaleidoscope of emotion, character, and social commentary, all exquisitely woven together through the extraordinary combination of Sitwell's words and Walton's brilliantly eclectic score.

The music is simply spellbinding, capturing the essence of Sitwell’s poem with an unparalleled depth of expression. Waltons's score shifts with ease from the jaunty, whimsical tone of "Popular Song", the witty and sophisticated "Dance of the Little Man", and the darker, more somber mood of "The Palm Court", evoking the contradictions and unpredictability of the modern world with absolute precision. The orchestration is masterful, combining classic and modern influences, and exhibiting Waltons's signature bold and original approach.

**The dancers** take centre stage, embodying Sitwell's vividly drawn characters. The piece departs from the typical balletic requirements of conventional technique and presentation, allowing for a much greater flexibility of style. It’s a fusion of different movements - from classical to contemporary to almost clownish - reflecting the satirical, ironic tone of Sitwell's work. The dancers have to be highly expressive and must be able to bring to life the eccentric personalities they inhabit, whether a dashing gentleman in "Tango" or a dazzling society hostess in "Mother and Daughter". And then there’s the character of "The Little Man", whose physicality has to be hilariously off-kilter in its lack of coordination, its flamboyant and awkward movements. Here, the choreography takes on the quality of visual comedy rather than simply being a dance.

There’s one dance that always stands out: “Façade”, the longest and most powerful section. The dance is full of swirling shapes and movement, which is interrupted by long moments of silence, giving a striking visual impact that is difficult to describe. The choreographer uses the dancers like "paint" to form the stage itself, a stunning combination of body language and lighting, representing the chaos and uncertainty that the post-war world presented. This dance is about the human condition itself: we are fragile, we are powerful, we are ever shifting and changing and are defined by our responses to this.

**It is a work that rewards the viewer, who will be left feeling a multitude of emotions from laughter and amusement to thoughtful introspection.** This ballet remains a testament to the power of artistic collaboration. With Sitwell’s words woven seamlessly with Walton’s ingenious music and the exuberance and versatility of the dancers, “Façade” takes on a new life with every performance – and continues to be relevant and engaging for a modern audience, despite being composed over a century ago.

**The individual dancers within each Tableau bring it to life and embody Sitwell's satirical vignettes:****

• In **“Popular Song”, we are introduced to a charming couple,** a flamboyant pair whose pas de deux is both comedic and sexy - one that highlights the carefree life and leisurely pursuits of the “Roaring Twenties”.
• The dark tone of “**Palm Court”, in stark contrast, brings to mind the futility of life, in all its drama and emptiness.** The dance is dominated by long gestures, which add a melancholic air. This section also highlights the disturbing trend of people becoming oblivious to what is really important.
• In “**Façade (Dance of the Little Man),** the dancers shift completely from graceful movements to highly uncoordinated physicality, as the central “Little Man” exhibits a comic, and yet somewhat sad figure, a character both vulnerable and determined.”
• “**Tango”,** one of the most energetic and eye-catching dances, evokes a sophisticated and glamorous scene. It features two male dancers performing the dance, whose sharp and defined movements are exaggerated to create a flashy and almost aggressive mood, which is in keeping with the image of this popular social dance.”