The Seoul Metropolitan Ballet is set to present an extraordinary double bill performance featuring two distinct works that showcase the power of dance to convey deep emotions and contemporary struggles. Opening Friday at the Sejong Center in Seoul and running through August 27, the program pairs legendary choreographer Hans van Manen's "5 Tangos" with "No More" by choreographer Ryu Hoi-woong, creating an evening that promises both passion and reflection.
The preview rehearsal offered a tantalizing glimpse of what audiences can expect. When ballet dancer Choi Young-gyu placed one hand on his hip and stepped into the sharp, pulsing rhythm of a tango during just a five-minute rehearsal, the effect was immediately striking. His gaze carried the unmistakable intensity of the dance, his chemistry with his partner was evident, and his commanding stage presence shone through even in those brief moments.
For Choi, who is now in his 15th season with the Dutch National Ballet, this performance holds special significance. "I've danced in many galas in Korea, but this is the first time I'm bringing a full piece back home," the principal dancer explained during a group interview Monday at a rehearsal studio on Nodeul Island. Set to the evocative music of Astor Piazzolla, "5 Tangos" has long been a staple in European ballet theaters, but this week marks its highly anticipated Asian premiere.
Choi's connection to the piece runs deep through his extensive work with van Manen at the Dutch National Ballet, where the renowned choreographer once served as artistic director and continues to hold the title of resident choreographer. "The music has both passion and melancholy," Choi reflected. "When I dance and look into my partner's eyes, I feel what tango must be like – the intensity, the excitement – even though I've never actually danced it. It's thrilling for me, and because I enjoy it so much, I believe the audience will too."
Feline van Dijken, who serves as the stager for the ballet, emphasized that the true essence of van Manen's choreography lies not in the technical steps but in the authentic connections between performers. "The way dancers look at each other and the connections they make are very essential for this work," she explained. "The choreography is almost secondary to how they create the atmosphere on stage." This philosophy places enormous importance on the dancers' ability to communicate through their eyes and body language, creating an intimate experience for the audience.
Adding another layer of complexity to his involvement, Choi is also taking on the responsibility of rehearsal director for this production. "Before, I only had to focus on my own part. Now I have to oversee the entire arc of the piece, from beginning to end," he said. "It's given me the chance to understand the work on a much deeper level." This expanded role demonstrates his growing artistic maturity and commitment to bringing the choreographer's vision to life in its entirety.
The second half of the evening features "No More," a work that confronts life's anxieties with raw energy and pounding rhythms. Set to the intense beat of live drums and percussion, this contemporary piece examines the pressures and struggles of modern urban life. Dancer-turned-choreographer Ryu first unveiled the work at the company's pre-debut triple bill performance last year, and for its return – marking the first anniversary of the Seoul City-run contemporary ballet company – he has significantly reworked the piece with expanded choreography, a larger cast, and a sharper emotional focus.
"No More" serves as a powerful reflection of contemporary Korean society, specifically addressing what Ryu calls the struggles of Korea's so-called N-Po Generation. This term refers to the young generation that has been forced to give up on many fundamental life goals: dating, marriage, children, homeownership, and even their dreams. However, rather than dwelling in despair, the ballet emphasizes themes of resilience and hope. "I hear people around me say, 'Life is too hard.' I wanted to find a way to give back positive energy," Ryu explained during the press conference.
This year's version of "No More" includes new scenes that deliberately blur the line between dream and reality, creating a surreal landscape that mirrors the confusion and uncertainty many young people face today. The work concludes with what Ryu described as a clear message of encouragement: "Let's keep moving forward." To achieve this vision, Ryu collaborated with drummer Kim Geon-jae of the indie rock band Silicagel, using drumbeats that evoke both destructive and monotonous rhythms – sounds that mirror footsteps and racing heartbeats while creating movement that expresses dialogue, competition, and love.
The production reunites Ryu with dancer Kang Gyeong-ho, who gained significant recognition and stardom through his appearance on Mnet's competitive dance survival program "Street Dance Fighter." Kang, who plays a central role in "No More," has witnessed the evolution of the piece firsthand. "Last year, there were just seven dancers. This time, nearly twice as many join the cast, and the choreography feels more layered," he observed. "The message has shifted from dwelling on hardship to offering comfort and strength."
The double bill represents more than just an evening of entertainment; it showcases the Seoul Metropolitan Ballet's growing artistic ambitions and its commitment to presenting both international masterworks and contemporary Korean voices. The pairing of van Manen's classical sophistication with Ryu's modern urgency creates a dialogue between different generations and artistic traditions, offering audiences a comprehensive experience that spans both emotional and cultural landscapes. As the company celebrates its first anniversary, this performance stands as a testament to its artistic vision and its role in Seoul's vibrant cultural scene.
