Review: Tango After Dark at Sadler’s Wells – virtuosity without variety

Following a delay caused by emergency maintenance at London’s Peacock Theatre, Germán Cornejo’s acclaimed Tango After Dark made its awaited return six months later, this time staged in the main house at Sadler’s Wells. The production, known for its previous runs in 2018 and 2022 at the Peacock, has established a cyclical presence in London’s dance scene, though this latest revival revealed shifts in both artistic execution and audience expectation.

The relocation to Sadler’s Wells initially led to some confusion for attendees, including this reviewer, who had to quickly adjust plans after arriving at the darkened Peacock. Despite this logistical hiccup, the show proceeded to showcase the enduring virtuosity of its performers, both dancers and musicians, affirming the high technical standards that have become synonymous with Cornejo’s work.

However, the production’s artistic direction drew mixed responses. While the dancers’ command of tango technique remained undisputed, the performance was marked by a repetitive sequence of tango duets that, though expertly executed, offered limited stylistic variation. The choreography predominantly featured traditional tango holds and movements, with frequent use of leg hooks and lifts, yet these elements sometimes felt overly familiar and uniform across the pairs.

The program’s narrative dimension appeared underdeveloped. For example, a thematic setup involving a female character entering the Milonga in outdoor attire was introduced but not further explored, leaving the storyline largely abstract. This choice contributed to an overall impression of the show leaning more towards cabaret-style showcase rather than a theatrical narrative experience.

An undercurrent of discussion emerged during the post-performance Q&A with Cornejo, where dance critic Fatima Nollen recalled tango's origins in Buenos Aires’ working-class neighborhoods, where it was commonly danced by men in same-sex pairs. In contrast, the current production’s closest engagement with same-sex dancing was limited to brief ensemble moments, missing an opportunity to reflect this historical aspect and bring greater diversity to the choreography.

The cast presented a mixture of seasoned and newer talent. Notably, Noelia Pizzo replaced Gisella Galeassi, Cornejo’s longtime dance partner, maintaining a comparable level of technical brilliance and stage presence. Nicolás Schell, the reigning World Tango Champion dancing alongside Nair Schinca, emerged as a standout, their performance marked by notable cohesion and dynamism. Some male dancers, however, appeared less confident during improvised sections, reflecting a variance in ensemble polish.

Musically, the production maintained its signature sound, featuring the evocative compositions of Astor Piazzolla played live by a quintet of musicians. The band, positioned at the rear of the stage, included Matías Rubino on bandonéon, an instrument integral to tango’s identity, enhancing the authentic club atmosphere of the Milonga setting. Vocalists Vanina Tagini and Jesús Hidalgo added to the immersive experience with their charismatic performances.

Costume design, crafted by Cornejo in collaboration with Alberto Mauri and Mimi Pinzón, underscored a visual contrast reflective of tango theatre’s traditional gender norms. Male dancers were fully dressed in suits and shirts, while female dancers wore revealing, flowing costumes that amplified the dance’s sensuality, a choice that has drawn parallels to broader conversations about gender representation and attire in performance sports and arts.

Despite moments of breathtaking lifts and technically demanding choreography, the evening’s pacing and repetition tested audience endurance, particularly after the interval. The show’s energy peaked during a lively encore where each pair condensed their highlights into a spirited finale, balancing the earlier monotony with a burst of engaging variety.

In sum, the Sadler’s Wells staging of Tango After Dark reaffirmed the high-caliber artistry of its cast and musicians but also prompted reflection on the balance between virtuosity and creative breadth. The production’s adherence to traditional tango aesthetics and limited narrative development suggest areas for evolution in future iterations. As tango continues to evolve as both a dance form and theatrical genre, integrating broader stylistic and thematic elements may enhance its resonance with contemporary audiences.

Details about forthcoming performances or further adaptations of Tango After Dark remain limited at this time.