A bunch of school kids gracefully raise their arms to the first position of ballet, to the sweeping notes of Elgar’s Nimrod. The opening of traditional ballet movements and upright posture serves as a recurring motif, symbolising both the institutional structure that defines British society and the resistance against it.
Shechter’s unique choreography style seamlessly transitions between earthy footwork, fluid formations, and frenetic shaking. The ensemble's morphs into various shapes with masterful precision, creating a mesmerising display of controlled chaos.
The dramaturgy skillfully captures fragments of British identity whether it be the choir chants of ‘my mind is my mind’, the sound of china shattering symbolising a ‘Broken Britain’ or a moving solo performance portraying the experience of being Black and British. The intricacy of the choreography demands the audience's close attention to fully grasp its details amidst the ever-changing ensemble. While some may argue that this subtlety risks ambiguity, the dramaturgy balances this with moments of gestural clarity and ensuring a focused exploration of the emotional essence of British identity. In doing so, it effectively captures the profound complexity and depth inherent in the concept of 'identity'.
Tom Visser’s lighting adds another layer of brilliance to the performance, utilising colour, and focus changes to dynamically shift the mood in a split second and complementing Schechter’s dynamic composition.
From England with Love, as the title clearly states, explores the meaning of this country with empathy and love, resulting in a nuanced and moving piece.
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