Birmingham Royal Ballet: The Nutcracker
A ballet that wraps young and old alike in a warm, familiar fantasy, it’s a chance to snuggle down and forget the world outside for a couple of hours.
A ballet that wraps young and old alike in a warm, familiar fantasy, it’s a chance to snuggle down and forget the world outside for a couple of hours.
Two pieces by young choreographers, both of whom have a special relationship with the company: Mthuthuzeli November and Phoebe Jewitt.
A very enjoyable evening’s entertainment; a good night out… a little rough around the edges maybe, but then the urban feel is part of the fun
Ballet Black have had a difficult year having to relocate to West London. It doesn’t show in performance, however.
All six dancers appeared in all four pieces, performing with class, commitment and bags of energy. Best, though was the way all connected with the audience
As musicians and dancers shared the stage, the music seemed to be bound together by moving bodies, which again were bound through the music
In Marco Goecke’s Le Chant du Rossignol, the dancers, all terrifically sharp, precise, appear from and disappear back into a deep, abyss-like upstage blackness.
At the curtain call, the audience greets Sir Peter Wright, his 99th birthday days away. Fiction and reality touch lightly. The ballet’s tradition no longer distant.
I can safely say that I have never felt a swan’s breath on the back of my neck. Until now. Because that’s precisely what happened during Act Two…
The company just gets better and better. The eleven dancers were outstanding in their grace, fluidity, musicality and interpretation
‘Crash: reassembled’ by Astrid Boons, a reworking of her 2020 piece, and ‘IT’S NIGHT AGAIN’, a new work by Italian choreographer duo Panzetti/Ticconi