Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.The audience were still finding their seats when the house lights went down. Much huffing and fumbling. William Forsythe, up to his old tricks in a triple bill for English National Ballet at Sadler\u2019s Wells, which began an 11-show run on Thursday. At a scant 100 minutes (including interval) it\u2019s a very short programme but packed with wit and virtuosity, showcasing a company on splendid form.Rearray was originally written in 2011 for the towering talents of Sylvie Guillem and fellow Paris Opera \u00e9toile Nicolas Le Riche, set to a stop-start tape of a David Morrow score. Rearray (London Edition 2025) ingeniously reworks the duet into a trio for Sangeun Lee, Henry Dowden and Rentaro Nakaaki. The super-concentrated 21-minute piece is performed on a bare stage in tights, trews, and T-shirts with lighting that regularly cuts out, allowing dancers to relocate (or simply disappear).Lee, dancing in pointe shoes rather than slippers, shares much of Guillem\u2019s awesome facility. Balances are impossibly sustained, extensions absurdly high\u00a0\u2014 that long, lean leg doesn\u2019t so much rise as refuse to stay down. The two men watched entranced, gesturing to her brilliance with mannerly appreciation like courtiers enjoying a grand pas.The spiralling interplay between the three is cleverly done, mixing in solos and duets and ducking the go-to clich\u00e9s of the pas de trois. As always with Forsythe, the textbook vocabulary is regularly undercut with a vaudevillian wriggle or a surly slouch.Rearray was weirdly low on jumps and batterie \u2014 as if the choreographer was challenging himself to manage without \u2014 but they were back in force for the quintet from 1992\u2019s Herman Schmerman, set to a beepy Thom Willems soundtrack. This was all very surprising and postmodern back in the 1990s, but, while dazzlingly led by the spring-driven Francesco Gabriele Frola, it seems a mite chilly and formulaic now. Forsythe\u2019s relentless deconstruction of classical technique can sometimes feel like the armature of a beautiful statue minus the covering curves.The evening ended with an exhilarating revival of Playlist (EP), first danced by ENB in 2022. In any other circumstances, its middle-of-the-soul soundtrack (Barry White, Natalie Cole) would feel like the Uber ride from hell but the peppy tunes give a sugar rush to the dance, which explodes across the stage with overwhelming largesse.\u00a0Originally conceived as an all-male piece in 2018, the 46-strong 2022 version includes female ensembles and a fine pair of duets. Precious Adams and Junor Souza grooved through Cole\u2019s \u201cThis Will Be (An Everlasting Love)\u201d and Sangeun Lee and Gareth Haw, so exquisitely classical in their Giselle this January, showed their stylistic range in a pithy, razor-sharp dialogue to Khalid\u2019s \u201cLocation\u201d.The men still get the lion\u2019s share, regularly taking issue with the laws of physics, individual talents peeling away from the stag line to show off their party pieces like members of a hip-hop crew. Frola\u2019s grande pirouette melted into a skaterly swizzle and Erik Woolhouse fast-forwarded through a chain of impossible turns, earning flurries of delighted applause.\u2605\u2605\u2605\u2605\u2605To April 19, sadlerswells.com<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.The audience were still finding their seats when the house lights went down. Much huffing and fumbling. William Forsythe, up to his old tricks in a<\/p>\n","protected":false},"author":1,"featured_media":272217,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-272216","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/272216","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=272216"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/272216\/revisions"}],"predecessor-version":[{"id":272218,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/272216\/revisions\/272218"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/272217"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=272216"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=272216"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=272216"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}