“Inala” means “abundance of goodwill” in Zulu and there’s no other way to approach this dance-theatre fusion show, a cross-cultural spectacle brimming with life, colour — and the very best intentions.
First seen at 2014’s Edinburgh International Festival, and now making its West End debut after sold-out runs at Sadler’s Wells and beyond, its production notes read like a roll call of the arts world’s great and good: vocals by Grammy winners Soweto Gospel Choir, music by Paul Simon collaborators Ladysmith Black Mambazo and the composer Ella Spira, plus ten dancers from companies such as Rambert and the Royal Ballet tackling Mark Baldwin’s sparkling choreography.
It’s performed with commitment, obviously created with love. So why does it occasionally feel just that tiny bit forced? The clue may be right there in the programme: “The show was born out of a desire… to give an equal voice to all in one space.”
Problem is, there are a whole lot of voices fighting for not that much space. Ideas pop and fizzle and clash — throaty vocals battle smooth classical orchestration and a taped soundtrack of cicadas and birdcalls; flowing ballet steps jostle for attention against post-modern flourishes and traditional tribal moves.
The dancers are all on top form, sleek, chic and ready for attack (notably Nafisah Baba, resplendent in a leather kilt and feather headdress, and a coolly precise Elly Braund). However, even they occasionally lose their lustre when set alongside the exuberant hand-jiving and high kicks of Soweto’s charismatic singers.
Until May 18 (020 7863 8000; sadlerswells.com)
