Read more to discover how William Forsythe’s distinctive footprint continues to shape the future of ballet…
Forsythe’s approach to choreography has been described as ‘evolving’ ballet, expanding its most fundamental structures to create something uniquely contemporary, while still celebrating classical technique. The choreographer’s movement vocabulary pushes the dancers’ speed, line and sharpness to their extremes. The result? A complex choreographic language that takes movement to new, exciting and demanding places.
I would describe Forsythe’s style as very reactive and very responsive to the music. You’re constantly trying to push the absolute end of your own line and physicality. So you’re definitely not inside a box – you’re trying to get to the far corners of the box and still be on time with the musicPrecious Adams, ENB First Soloist
A classic ballet technique at the extremeJunor Souza, ENB First Soloist
I very often tell the dancers, you have to be more intelligent than the choreography. The choreography is there as a as an inspiration. As a catalyst. It’s not about making this shape. It’s about how you fit into that shape. It means that one dancer dancing one piece and then another cast of the same role, are not the same. I want them to pass through the same general shape, but it’s a very personalised process.Noah Gelber, Guest Repetiteur
Bill has an amazing ability to empower and to push you out of your comfort zone, which can be daunting at times, but ultimately brings you to a new exiting realm of discovery. I distinctly remember feeling that my brain was often even more tired than my body at the end of the day. Working with Bill truly changed my life and shaped me into the artist I am and heavily influenced my artistic vision.Aaron S. Watkin, ENB Artistic Director
Forsythe’s relationship with classical ballet can be considered both respectful and revolutionary. As a dancer with the Stuttgart Ballet, he spent years absorbing the rich tradition of classical technique. As a choreographer, his approach was to question ballet’s established principles throughcreative exploration. Thanks to this unique approach, William Forsythe’s choreographic voice would go on to define the landscape of the modern ballet for years to come.
Forsythe took his first steps as a choreographer in the 1970s, and in 1984, went on to take over the role of artistic director at Frankfurt Ballet, Forsythe’s signature style is marked by fast-paced movements, unexpected shifts in direction, and a heavy emphasis on momentum, creating tension through speed and release. There’s also a keen intention to explore the relationship between the dancers’ bodies and the space around them.
The dancers are challenged to constantly adapt to the choreographic structures, responding to rapid changes in movement. Forsythe’s work often involves intricate, layered movements that require absolute precision. However, he also allows room for spontaneity, with dancers often improvising within specific parameters. This blend of structure and freedom gives Forsythe’s choreography its thrilling innovation.
His bold and unpredictable work was unlike anything seen before, and has captivated audiences and critics around the world.
Choreographer William Forsythe has nothing to prove. Having spent decades reinventing ballet and pushing dance’s limits, he has seemingly reached a point where he just wants to have fun, and generously wants you to have fun, tooThe Guardian
Forsythe delights in and celebrates the classical vocabularyFinancial Times
You can just tell these dancers love dancing Forsythe’s choreography. Who can blame them, it’s smooth, fluid and elegant, while cool, jumpy and originalBroadway World
Forsythe’s relationship with music has always been central to his choreographic practice. His works are often portrayed as an intricate interplay between sound and movement, where music is not merely a backdrop, but an active partner in shaping the choreography.
I grew up playing the violin, the bassoon, the flute, and I sang in choruses. I think that’s the only reason I went to church. It was because I got to sing. My grandfather was a concert violinist… He would play me pieces of music and he said ‘this is the greatest,’ ‘don’t listen to them,’ ‘listen to that.’ So, I grew up with a really strong classical music background and, in the meantime, I was getting into clubs and shaking.William Forsythe Interview - Houston Ballet
Forsythe’s sense of rhythm and timing is always in sync with his physical language, pushing dancers to refine their musicality in ways that have often reshaped their understanding of dance.
English National Ballet have performed a number of Forsythe’s works, including Approximate Sonata, Blake Works I, and Playlist (Track 1,2), which was created for the Company in 2018.
In 2025, the choreographer returns to English National Ballet for The Forsythe Programme: a triple of work, showcasing the different colours and moods of his choreography.
Alongside the return of Playlist (EP), the Company will also perform Herman Schmerman (Quintet), a classic display of Forsythe’s signature style not seen in the UK for nearly 30 years. Completing this special programme, there will be the chance to experience a new work, Rearray (London Edition 2025). This is Forsythe’s newest iteration of his 2011 work, originally created for the legendary ballerina Sylvie Guillem and also adapted for Paris Opera Ballet in 2024.
The Forsythe Programme is at Sadler’s Wells Theatre from 10 – 19 April 2025. Info and tickets can be found here.