Revived Choreographic Masterpiece: Legendary Dance Spectacle Le Train Bleu
Inside the spacious studio at English National Ballet's headquarters, located in a white Rubik's Cube-like building on London City Island, nine dancers gracefully glide across the floor, their agile bodies seemingly floating through the air like swimmers underwater. Upstairs in the atelier, an assortment of plastic boxes filled with sequins, beads, and shimmering braids await the costume designers, who are busily sewing 1920s-inspired costumes for the upcoming production of Le Train Bleu.
This revival of the whimsical, one-act ballet was first staged by Serge Diaghilev's Ballets Russes in 1924 and will be presented for a single day of three performances at the V&A East Storehouse in June. Notably, this production brings together some of the most illustrious names from the '20s art scene, including choreography by Bronislava Nijinska, a scenario by Jean Cocteau, costumes by Gabrielle "Coco" Chanel, and a stage curtain by Pablo Picasso. Jane Pritchard, curator of dance, theatre, and performance at the V&A, describes it as "a real 'who's who' of '20s art."
Set on a beach and satirizing the idle classes, Le Train Bleu affectionately lampoons the social habits of the Jazz Age, featuring sunbathers engaged in amorous dalliances, gigolos, and imaginary planes flying overhead. The lively music by Darius Milhaud adds to the ballet's playful atmosphere.
Audiences took delight in the ballet, with ticket sales reported to be as difficult to obtain as a seat on the fashionable Blue Train itself. Despite its brief run, the production played a pivotal role in Gabrielle Chanel's relationship with the Ballets Russes, as it marked her debut in designing costumes for the company. The iconic fashion designer provided funding for the Ballets Russes during challenging times and often offered advice on costumes.
This revival of Le Train Bleu marks significant milestones, including the centenary of Chanel's presence in the UK and the English National Ballet's long-standing patronage. According to Aaron S Watkin, artistic director of ENB, it represents a full-circle moment, given that ENB's founder Alicia Markova was a ballerina for the Ballets Russes during the era when Chanel designed costumes for the company.
When the performances take place at V&A East Storehouse on 19 June, they will be accompanied by an extraordinary spectacle: a 10m-tall, 11m-wide reproduction of Picasso's monumental painting The Two Women Running along the Beach, which was originally designed to establish a mood and excite the audience before the show. Acquired by the V&A in 1976, this oversized cloth copy, deemed "the largest Picasso in the world," will serve as the backdrop for the production.
After conservation work by 10 technicians and conservators, funded by Chanel, the massive painting will be a part of six large-scale objects displayed in the V&A's East Storehouse, where it will remain on exhibit in The David and Molly Lowell Borthwick Gallery. The gallery will provide an ideal setting to juxtapose the ballet with various objects, allowing visitors to make unusual connections between objects that might never have been associated with each other.
ENB's intimate venue for the performance will offer a uniquely immersive experience, allowing patrons to be up close and personal with the ballet's choreography and the stage décor. This setup will enable audience members to witness the dancers' impressive physicality and appreciate the intricacies of the performance more intimately than they might in a larger setting.
This updated production of Le Train Bleu aligns with ENB's broader objectives of diversifying ballet and engaging with new and diverse audiences. By creating unexpected experiences and opening up the world of ballet for a wider demographic, ENB hopes to showcase the art form's unique qualities and attract a broader range of patrons.
Indeed, the themes and social commentary of Le Train Bleu resonate with contemporary audiences, as the cult of the body and societal pressure to look good serve as pertinent analogies in today's age of Instagram and increased attention on physical appearance. As Brendan Cormier, chief curator at V&A East, notes, "That kind of class tension still rings true today."
For further information about the performances and ticket sales, follow @vam_east and @englishnationalballet on Instagram, or access the V&A East Storehouse website, available from 31 May 2025 at https://vam.ac.uk/east.
Make-up for the production has been provided by Marco Antonio, using Chanel's Les Beiges Golden Hour Collection and No 1 de Chanel Body Serum-In-Mist.
Filming credits: Director and photographer – Vivek Vadoliya; Director of photography – Sam Finney; Post-production – Wild Island Films; Music composition – OPM Studios; Production – Art Production.
The upcoming revival of Le Train Bleu at V&A East Storehouse brings together fashion and beauty, as Gabrielle "Coco" Chanel, renowned fashion designer, has designed costumes for the production. This production also provides a glimpse into entertainment from the 1920s, as it satirizes the social habits of the Jazz Age and features lively music by Darius Milhaud. With the use of Chanel's makeup products and the display of Picasso's monumental painting, the event promises to be an immersive experience that resonates with contemporary audiences, especially in today's age of Instagram and increased attention on physical appearance.
