Birmingham Royal Ballet
Uninventive and far too polite: BRB’s Black Sabbath – The Ballet reviewed
Not being an aficionado of the heavy-metal genre, I snootily suspected that I would rather be standing in the rain…
One long moan of woe: Crystal Pite's Light of Passage, at the Royal Opera, reviewed
I was moved and shaken by Crystal Pite’s Flight Pattern when I first saw it in 2017. In richly visualised…
The Nutcracker wasn’t always considered quite such a box of delights
The enduring appeal of The Nutcracker. The ballet wasn’t always considered quite such a box of delights
At last some genuine gala material: Royal Ballet's Balanchine and Robbins reviewed
The OED defines ‘gala’ as ‘a festive occasion’. In the ballet world this usually translates as a handful of stars,…
Tranquil, silky and serene: Birmingham Royal Ballet’s Lazuli Sky reviewed
When Carlos Acosta was named artistic director of Birmingham Royal Ballet in January of this year, he announced ambitious plans…
Now that's what I call sex: Birmingham Royal Ballet's Ashton Double Bill reviewed
That joke about the young bull who tells the old bull, ‘Hey, Dad, see all those cows — let’s run…
Giselle has floored many a ballerina — it did so again last week
English has all sorts of emotive metaphors for how we feel about the ground. We’re floored. Or well grounded. Or…
Birmingham Royal Ballet review: A Father Ted Carmina Burana
We ballet-goers may be the most self-deceiving audiences in theatre. Put a ‘new work’ in front of us and half…
Birmingham Royal Ballet and the Royal Ballet battle for the heart of English dance
English ballet erupted out of the second world war in the hands of the rival choreographers Frederick Ashton and Robert…
