As a dance editor, I see a lot of season announcements. They’re often a predictable mix of classics, a premiere or two, and a safe bet for the box office. But English National Ballet’s 2026-2027 lineup, themed **‘A Season to Feel More,’** feels different. It’s not just a schedule; it’s a statement. And frankly, it’s a statement I think the dance world needs right now.
The core idea is powerful in its simplicity: in a world that can feel increasingly disconnected and digitized, ballet offers a profound, shared, *human* experience. ENB isn’t just promising to entertain us; they’re promising to make us *feel*. That’s a bold ambition in an age of endless scrolling.
Let’s break down why this season feels so resonant:
**1. The Emotional Spectrum is the Star.** Look at the programming. You have the epic, heart-wrenching tragedy of **Akram Khan’s *Giselle***—a masterpiece that redefines what ballet storytelling can be. Then, you swing to the explosive, joyous energy of **William Forsythe’s *Playlist (EP)***. This isn’t a season of one mood. It’s a deliberate journey through awe, sorrow, exhilaration, and pure fun. It acknowledges that to "feel more" means accessing the full range of what makes us human.
**2. It’s a Bridge Between Eras.** The season brilliantly connects pillars of the past with the pulse of the present. A brand-new **Derek Deane production of *Swan Lake*** promises grand, traditional spectacle—the kind of beauty that gives you chills. Juxtaposing that with works like Forsythe’s or the continued commitment to Khan shows a company confident in both its heritage and its future. They’re saying classical technique is our foundation, but emotion is our universal language.
**3. "Feel More" is an Invitation, Not a Command.** This is crucial. The theme isn’t prescriptive. It doesn’t tell you *what* to feel. It creates the conditions—through diverse, world-class choreography and powerful music—for a personal, visceral response. Whether you’re a lifelong balletomane or a first-time viewer, the door is open. Your experience is valid.
**As an editor, what excites me most is the potential conversation.** This season feels like a direct response to the cultural moment. After years of global uncertainty, we’re collectively seeking connection, catharsis, and experiences that remind us we’re alive. ENB is positioning ballet not as a remote, elite art form, but as a vital, communal space for exactly that.
The proof, of course, will be in the performances. But the intent is clear and compelling. English National Ballet isn’t just asking for our attendance next season; they’re asking for our emotional engagement. They’re betting that in 2026, what we crave most is to sit in a theatre and, together, **feel more**.
I, for one, am ready to take that bet.
