Review | THE KING DANCES / CARMINA BURANA (Birmingham Royal Ballet) June 2015

Celebrating 20 years of Artistic Director, David Bintley, Birmingham Royal Ballet present his first and most recent ballets for the company at Birmingham Hippodrome this week. 

The King Dances is the 1653 story of the 14-year-old Louis XIV of France who danced the role of Apollo the sun god in Le Ballet de la nuit, and earned himself forever the soubriquet the Sun King. In the ballet, David Bintley re-imagines the very beginnings of ballet, when men were quite literally, the kings of dance.

From it's fiery opening with flickering flames, the Messieurs are perfectly poised but it is ultimately, Le Roi, the Sun King danced by William Bracewell who commands attention over the discordant score. His duet with the moon, Yijing Zhang's Selene, la Lune is simply beautiful and leads nicely into a striking finale of glowing gold. 

It all overseen by the brilliance of seasoned dancer Iain Mackay as La Nuit who's turn as Le Diable, the devil adds a welcome change in dynamic. It is rather succinct at only 35 minutes but is nonetheless pure, undiluted brilliance. 

1995's Carmina Burana opens with the familiar 'O Fortuna' - the last time I was sat at Birmingham Hippodrome listening to that song, I was being covered in snow by clowns, it's a versatile an anthem. Here it provides the perfect introduction to the angular, disjointed choreography, executed with gusto from Céline Gittens,  as a break from the more classical ballet of which we were treated to earlier in the evening. 

If it's something BRB do well, it's providing contrast in it's double and triple bills whilst keeping the theme relatively correlating. Carmina Burana keeps the dark drama of the first piece but despite being 20 years old injects a freshness through the abandoning of structure and the exploration of fate. 

Divided into several departures from faith, 'On The Village Green' is sprightly, much like MacMillan's Elite Syncopations, an injection of colour, flirtatious and contests with the equally entertaining 'In The Tavern' which also draws parallels with Jooss' The Green Table - gluttons in masks and gloves dancing around a table on which Daria Stanciulescu is presented as an effortlessly delicate Roast Swan. 

The climax, a reprise of O Fortuna is preceded by a breathtaking sequence for the tearing down of the backcloth and revealing of a concert-like spectacle that's all in the staging. 

Not only The King Dances but the evening as a whole is deliciously dark and by it's climax, glows gloriously. 

At Birmingham Hippodrome until Saturday. Click here for tickets. 

View the trailer for Carmina Burana

News | BIRMINGHAM ROYAL BALLET ANNOUNCE JAN TEO AS NEW CHIEF EXECUTIVE

The Board of Directors at Birmingham Royal Ballet has announced the appointment of Jan Teo as its new Chief Executive. Ms. Teo has served as a member of the Birmingham Royal Ballet Board for the past two years and has long experience in corporate management and the arts. She will take up the position in mid-September. Current Chief Executive Christopher Barron is leaving the Company in July, as announced in November.

Announcing Ms. Teo’s appointment, Birmingham Royal Ballet’s Chair of the Board, Professor Michael Clarke said: “I am extremely pleased that we can make this appointment. The Board conducted a thorough international search, and while there was no shortage of qualified candidates it was nevertheless hugely gratifying to find the answer round our own Board table. Jan has just the mix of leadership skills and management experience we need, knows the Company well, and has great experience in the arts sector in Birmingham. We look forward to working successfully with her.”

In 2009 Ms. Teo joined Deutsche Bank as a Director, heading up the Change and Infrastructure Group in Birmingham. Having played a leading role in the exponential growth of the business, Jan became Chief Operating Officer for Deutsche Bank’s European Service Centres in early 2011. Jan draws on extensive commercial experience of planning and executing strategy, having been formerly a senior leader at Legal and General, Barclays Bank, RAC Motoring Services, Lex Transfleet and the Fraikin Group, working in Service and Business Transformation Director roles.

A strong and active supporter of Birmingham Royal Ballet, Ms. Teo joined its board in 2013, and the Company’s Finance and General Purposes Committee in 2014. Ms. Teo is also a Director of the Birmingham Museums Trust, where she chairs the Finance and Operations Committee. She has played an important part in the annual Deutsche Bank Creative Awards and the Women in European Business diversity group. At the invitation of Sir Albert Bore, she led a workshop at the 2012 Cultural

Summit, also sits on a steering group of Birmingham’s Creative Partnership Board looking at alternative funding models for arts and creative businesses.

Jan Teo added: “I am delighted to combine my corporate skills with a personal and lifelong passion for the arts and cultural pursuits, and am looking forward to working with the immensely talented and dedicated team at Birmingham Royal Ballet. Having been a member of the Board, I have had the privilege of getting to know the Chair and the Company well, and vice versa. It is a double honour to be following Chris Barron and all his achievements in the role of Chief Executive and to be working toward the future alongside David Bintley.”

Review | SHADOWS OF WAR (Birmingham Royal Ballet) October 2014

It's time for another triple-bill from Birmingham Royal Ballet this week and almost timely to the centenary of the First World War, the three ballets presented here are each touched in their own way by the shadow of war. 

The first, La Fin du jour is at first a delightful piece, also titled, The End Of The Day it does on the surface tell the story of bright young people, amusing themselves with parties and the latest fashions. It is simplistic in set, but bursting with vibrantly coloured costumes. We se relationships blossom, it's romantic and reminiscent of BRB's Elite Syncopations - a celebration. Shadowed of course, it's ending although not unpleasant is somewhat hinting at the sombre as their country is on the brink of war. 

 La Fin du jour 

The second of the three is most special, this was the world premiere of the revived production of Miracle In The Gorbals - reconstructed from memory by renowned choreographer of Cats - Dame Gillian Lynne. 

Set in a run-down and dangerous Glasgow suburb, it dispensed with all the frippery of traditional ballets, replacing it with a gritty realism that proved an enormous success. After the shock of a girl's suicide, the arrival of a mysterious stranger who is able to bring her back to life creates waves among the violent inhabitants of the tenements. 

The original production of 1944 was danced by a 17 year old Lynne, choreographed by Robert Helpmann and is gloriously reproduced for an audience 70 years on. Lynne herself is a miracle at 88 to still be rolling around the floor in full splits with the ballet dancers but has completely thrown herself into the rehearsals and production whole heartedly - and it shows. Whilst the piece isn't the most cheerful of stories, or the most captivating it is a rare opportunity to see this particular ballet that is masterfully translated. To see Lynne take her bow with the dancers was a moment of pure joy and an overwhelming sense of achievement. 

Dame Gillian Lynne in rehearsals with the company.

The final ballet, Flowers Of The Forest is in two parts, both Scottish dances. 'Four Scottish Dances' is the more lighthearted of the two, there are charming moments of real humour in the nostalgic, 'picture postcard' view of Scotland. Scottish Ballad' strikes a more serious note, and is danced to a folk-inspired score by the young Benjamin Britten. The composer's pacifist views found voice in this piece and it is grittier - an energised performance and constant contrasts keep an exciting pace making this final piece perhaps the strongest of the three. 

See Birmingham Royal Ballet present Shadows Of War at Birmingham Hippodrome until Saturder 11 October. Book online here. 

Dame Gillian Lynne begins work on Miracle In The Gorbals

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Review | Beauty And The Beast (Birmingham Royal Ballet) September 2014

There are no singing teapots... this is Beauty And The Beast at it's boldest and it's best - Birmingham Royal ballet are back with a brand new season and an eleven-year-old favourite production from David Bintley. 

From the initial curtain-up this deliciously dark ballet has you in awe. From Belle's vast library, towered high with books, we are seamlessly transported into the forrest and to the Beast's castle. With a grand, golden set design and exciting illusions you are easily lost in the magical world, before any dancing is even considered. 

The story is of a price, as cruel as he was handsome who is turned into a Beast. The Beast encounters a merchant and spares him his life in exchange for his youngest daughter - Belle. The tale of choice dictated by love ends romantically, as always, and is a perfect excuse for a magical transformation scene. 

Elisha Willis is an endearing Belle. Beauty by name and beautiful in nature, this is a subtle performance, from the heart to the hearts of the audience as you fall in love with Belle as she does with Beast. The narrative choreography ensures she has plenty of stage time with Tyrone Singleton who is in every way a commanding Beast. Dominating the stage, Singleton has an athletic approach to a character who is at first strong but manages to show a more tender Beast, mastering the creature's demise and is earning of sympathy. 

The rest of the excellent company make up other animals. A charming bunch, it is pure delight to watch them leap in unison, spinning in all directions, it's sometimes chaotic but it's visually stunning. The story is lost only slightly in parts but a timeless classic such as this has more than enough to please on all levels.

Backstage on the production is even more fascinating as the magic unfolds. As always with Birmingham Royal Ballet, corners are certainly not cut... Despite it's grander, what is surprising is the simplicity of the set. Quite obviously impressive in scale but a team of dancers push the giant castle walls around to suggest change in setting, it's entirely traditional in method yet continues to offer the audience a spectacular treat. It is perhaps a shame that the exquisite detail in the set design just can't be seen clearly enough from the auditorium. In a rare opportunity to see the sets so closely we discovered first hand delights such as the hundreds of individual flowers, made from foam, covering the walls. 

The costumes are exquisite. Considering the amount of dancing and the height in which they manager to leap, particularly for the Beast it's interesting to discover how heavy they actually are. Costumes line the corridors, multiple dresses for each Belle, 5 of whom will play the role during one week of performances. There are also multiple Beasts - each performer is rehearsed before going on, so that's a lot of rehearsing! 

The doors to the Beast's castle are incredibly detailed with animalistic carvings. Just as detailed is the decoration on his chair and table. Both chair and table are created especially to allow magical illusions. The chair moves onto stage by itself, spinning around and the table is full of delights - such as plates that move and drinks that pour themselves. 

See below for a selection of photographs from our tour behind the scenes. Click on the images to view them larger. 

See this spectacular production of Beauty And The Beast by one of the world's greatest companies. Birmingham Royal Ballet present the opening of their autumn season at Birmingham Hippodrome until Saturday 4th October (book here) with another production, Shadows Of War next week, which includes Miracle in the Gorbals - specially re-created for the company by Dame Gillian Lynne, from Robert Helpmann’s original work set in 1940s Glasgow and danced to music by Sir Arthur Bliss. From 8 - 11 October (book here).

Dame Gillian Lynne begins work on Miracle In The Gorbals

Review | LA FILLE MAL GARDÉE (Birmingham Royal Ballet) June 2014

It might not seem it with recent weather but summer has arrived, particularly upon the stage of Birmingham Hippodrome this week as Birmingham Royal Ballet present La Fille mal gardée, the oldest ballet in existence, having premiered in 1789. Despite the French title and principal names, there can be no more English a ballet as the picturesque countryside of late spring blossoms into summer in choreographer Frederick Ashton's idea of splendid Suffolk.

When country beauty Lise falls in love with farm lad Colas, she’s about to upset the apple cart. Her mother, Widow Simone, has her own ideas about who her daughter should marry. Enter Thomas, a pompous and wealthy vineyard owner. And Alain, his rich son – attractive as a potato, smart as a turnip and the proud possessor of two left feet. It's like a summer pantomime of the ballet world, a lighthearted tale with predictably hilarious results.

Michael O'Hare is rich farmer Widow Simone, the 'dame' is at the heart of the piece, plays for laughs as the dame would do but delights with an impressive clog dance. The widow's daughter Lise is danced impeccably by Nao Sakuma, who after joining the company in 1995 was promoted to principal in 2002 and her experience shows. It is most difficult to turn attention from her to other delightful distractions such as a brood of chickens.

The colourful production is perhaps at it's best when all artists of the Birmingham Royal Ballet dance as one. At one point there is an impressive dance around a maypole and a cute flute dance lead by Lewis Turner who always manages to light the stage with a charming smile. Equally as a charming is César Morales who is a strong lead as Colas. 

An exciting edition to the cast is a beautiful Shetland Pony who appears one more than one occasion, provoking prolonged bouts of "awww"s.

This is a thoroughly entertaining ballet with a plethora of delights. A perfect introduction to summer at Birmingham Hippodrome until Saturday 14 June - click here to book tickets. Also at Nottingham Theatre Royal 25 - 28 June, click here to book. 

Review | DARKNESS & LIGHT (Birmingham Royal Ballet) June 2014

There is little more that excites my theatrical mind than the idea of Birmingham Royal Ballet triple bill. What you can always expect is a varied yet relevant collection of works. Here, three ballets by Frederick Ashton contrast in themes of darkness and light - hence the collectively named trilogy. 

The first, Les Rendezvous is a delightful dance to the backdrop of Anthony Ward's simplistic park setting. Friends meet, and it has no serious portent at all. It's pleasant, charming and the portrayal of idyllic life. This is one that is so easy to lose yourself in - the fusion of colour and of energy - it's like Disneyland. A fantasy land that is introduced, enjoyed and over within 24 minutes. 

As with all of the three ballets, they're finished within little over 20 minutes each. They're perfect,  concentrated little pieces that don't leave you looking at your watch, or fidgeting to find a different position for your feet! These would make a perfect introduction to ballet. 

The second piece, Dante Sonata is quite obviously the 'darkness' ... it is a battle between the Children of Light and the Children of Darkness and is of much harsher tone. First performed in 1940 at the Sadler's Wells Ballet, this wartime creation explores torment and shame and is clearly the ballet of real power. 

The third ballet lightens the mood once more - Façade, a joyous celebration. It felt almost as if it was happening in a Mary Poppins film, it was random, colourful and cute. Ruth Brill is brilliant as The Milkmaid, it was like Coppélia. Humour was provided by the excellent Lewis Turner and partner Kit Holder who perform Popular Song in a perfectly synchronised act. 

See a rehearsal video for Façade.

Darkness and Light is the perfect blend of ballets, varying styles, paces and themes - all three ballets within a succinct 2 hours. Don't miss them at Birmingham Hippodrome until Sat 7 June. Book tickets here. 

THE PRINCE OF THE PAGODAS (Birmingham Royal Ballet) Review February 2014

As the centenary celebrations of Britten are almost past, Birmingham Royal Ballet present what could be the climax to it all - David Bintley's reworking of Britten's only comissioned ballet, first performed in 2011 in Japan.

Initially, we're greeted by a Fool, danced by Lewis Turner. He sits with his legs dangling into the orchestra pit, playing with the audience in a clown-like mime. He offers noodles to a family sitting in a box and rouses applause repeatedly. It's a pre-show gimmick that you'd expect at the circus but it's more than welcome here. Turner remains a delightful, charming presence throughout. Equally as charming is the beautiful Yaoqian Shang as Sakura...

The Emperor and The Fool. (Photo by Phil Hitchman)

Uninterested by any of the four kings presented to her, Princess Belle Sakura journey's to the kingdom of the Salamander Prince - danced expertly by Yasuo Atsuji. As the princess, Yaoqian manages to combine gleeful dizziness and moments of controlled despair. Seemingly inspired by an eclectic mix of existing stories, there are themes for all audiences. This both works and doesn't... At some moments so much is going on that the unfamiliar story can get a little lost. What works however is the fact that regardless of clarity, the dance itself is spectacular and sustains your interest through the three acts. The dance, coupled with the exquisite costumery is a dazzling spectacle... most of the time. 

Not all the costumes are dazzling, the Yokai, are grotesque costume-characters, it's almost like Disneyland for zombies. At first they appear somewhat out of place - they're unlike anything you'd usually see at the ballet but as the story progresses you accept them as part of the oriental birdcage of fascinating creatures that you find yourself in. The Yokai are a perfect example of accessible ballet for everyone. 

Sakura, a Yokai and the Salamander Prince (Photo by Phil Hitchman)

I did believe that the central couple were lovers (they always are, right?) until reading the synopsis confirmed that here, they are in fact siblings... the love is still as strong but despite a sometimes hazy narrative, which differs from the original (not that I was familiar), The Prince Of The Pagodas is evidently a vehicle for creative choreography that offers audiences a completely new experience. Worth a visit to Birmingham Hippodrome this week to see a creative interpretation of Britten's exciting, multifarious score. To book online, click here. 

For backstage blog insights into The Prince Of The Pagodas, click here. View the trailer below:

You can listen to Lewis Turner talk about his roles in last weeks Three Of A Kind and The Prince Of The Pagodas.

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THREE OF A KIND (Birmingham Royal Ballet) Review February 2014

Just four months after the success of Penguin Café, Birmingham Royal Ballet present another triple bill of favourite ballets. Previously, the celebration of David Bintley's award winning pieces and now the coming together of three comic ballets - Card Game, Slaughter On Tenth Avenue and Elite Syncopations. 

The first ballet, Card Game, first performed by Birmingham Royal Ballet in 1976 is perhaps the most visually simplistic I've seen from the company for there are no gimmicks - but it works perfectly. Here is a card table - a stage covered green with male dancers dressed in unitards, females in tutus - both decorated to represent a particular card in the pack. This piece focuses on the intricacies of poker and is split into three deals. Even for non-players the piece is easy enough to follow and is a witty, lively and collectively camp display of cards as they progress through the game. The fun begins when the Joker is dealt. Danced by Jamie Bond, the Joker tries to replace cards to sway the game with humours consequences. Bond has unrivalled speed and has a charming charisma despite villainous intentions. Cleverly between deals, other dancers, hidden behind the backs of human sized playing cards, enter and shuffle about to trade places with others. Throughout, the synchronicity is almost an impossible perfection.

Slaughter On Tenth Avenue is the crazy tale of gangsters, a high-kicking stripper girl and a happy go lucky hero who literally dances for his life. This lively piece is most unlike much else in Birmingham's repertoire. Beginning with dialogue, the scene is set with the pending disaster of gunfire in which the piece steadily builds towards... This is indeed a ballet, but so much more. An incredibly slick 26 minutes of more contemporary ballet that even features an exciting, intricate tap solo. Tyrone Singleton and Céline Gittens as the Hoofer and Striptease Girl command all attention and remain sensationally sexy, sassy and passionate. There is a great moment between the two bartenders (Kit Holder and Oliver Till) who use the choreography to light each other's cigarettes, striking matches across the bottom of their shoes. Slaughter On Tenth Avenue is received like a musical, there is very much a West Side Story feel to what is probably the stand-out act of the three. 

Stripping back the stage to nothing more than lighting rigs and the bare back wall is perhaps a little underwhelming at first... What is most magical about Elite Syncopations is that despite the lack of scenic elements, this piece is in fact one of the most vibrant. It is nice that here the dancers are joined on stage by the band who play a delightful arrangement of Scott Joplin - whose ragtime moods inspired the ballet. Casually the dancers sit around the perimeter and take turns to present their routines. The costumes are a delightfully colourful exaggeration of the era paraded by dancers who are able to experiment with a less formal presentation. Jonathan Higgins conducts the band on piano who create a sufficient and merry soundtrack. This particular piece is your proof that talent is entertaining enough without the need for anything else. 

The three succinct ballets are concentrated with pure delight. For an evening of lighthearted merriment, visit Birmingham Hippodrome until Sat 22 February. Book online here. 

You can listen to dancer Lewis Turner talk about his roles in the triple bill and The Prince Of The Pagodas which plays from 25 February - 1 March. You can book tickets here. 

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THE NUTCRACKER (Birmingham Royal Ballet) Review November 2013

Having crept downstairs to play with her new nutcracker doll, Clara finds herself magically transported into a world where she is amongst a battle between toy solders and rats. Her beloved Nutcracker doll turns into a handsome prince and they leave for the Land Of Snow... 

Sir Peter Wright's fantasy Christmas classic returns to Birmingham Hippodrome, the theatre in which it premiered on 29th December 1990 and proves as popular as ever, for not a single seat around was left unoccupied. 

Momoko Hirata sparkles and shines as Clara, the young girl with the gift of dance is perfectly performed with mesmerising technique. The production also belongs to Nao Sakuma, the Sugarplum Fairy who delights and receives rapturous applause. Chi Cao continues to execute the finest performance, securing his place at the forefront. A chorus of leaping rats, dashing soldiers and beautiful ballerinas combine to complete the line-up of world class dancers. 

Photo by Steve Hanson

The staging is a spectacle in itself - we've all seen a set change but this is unlike any other. The element of magic as the room transforms is present throughout and would leave even the Scroogiest theatregoer spellbound. The magic and beauty of the entire production is enough to satisfy every Christmas wish. The perfect pre-Christmas treat, a fabulous way to begin the festive season. Make sure it's on your list! 

The Nutcracker runs at Birmingham Hippodrome until Thursday 12 December, book tickets online here.

Watch the incredible set being fixed up during the get-in below:

THE SLEEPING BEAUTY (BIRMINGHAM ROYAL BALLET) Review October 2013

Sir Peter Wright's The Sleeping Beauty is perhaps the most majestic of Birmingham Royal Ballet's programme. The production received a 2010 revival of the company's 1984 production and is once more captivating a home audience at Birmingham Hippodrome. 

The story is most simple, the famous tale of Princess Aurora who is cruelly tricked by Carabosse, pricking her finger on a spindle and falling into a deep sleep only to be woken by true love's kiss - Prince Florimund. 

Birmingham Royal Ballet doing nothing by halves and the grand staging by Philip Prowse is breathtaking. The entire production is gold and the grand prologue makes for one of best openings to a ballet I've seen. With the Royal Ballet Sinfonia masterfully in charge of Tchaikovsky's score every element of the evening is pure delight. 

Natasha Oughtred, Princess Aurora

At just under three hours this ballet is very long. There is little story left to tell with much of the score yet to play. Act III as with most ballets is a celebration and in this case filled with dance from Puss-in-Boots, Red Riding Hood and the Wolf and the Bluebird with Enchanted Princess. Everything is beautiful but the routines are reprised many times and when 10 o'clock is reached and there is still 25 minutes to go - you can get a little uncomfortable in your seat. 

Natasha Oughtred makes for the perfect princess - there are moments in which her skill is almost unbelievable. Her strength is incredible and stage presence delightful. She is joined by César Morales as Prince Florimund who is equally as present and a commanding male lead. Samara Downs is full of wicked expression as the evil fairy Carabosse. 

At 29 years old any production would tired and dated... not this. The Sleeping Beauty is an absolute treat, far more detailed and grandiose to the ice version currently touring but the productions are incomparable in their own right. 

Finale (Photograph by Bill Cooper)

This is likely to be the most lavish production you will see, an incredible effort and display of world class ballet from this Birmingham company - an honour to the city. Book here for tickets to The Sleeping Beauty at Birmingham Hippodrome until Saturday 12 October 2013. 

Watch a clip of the Bluebird pas de deux solo below:

PENGUIN CAFÉ (BIRMINGHAM ROYAL BALLET) Review October 2013

Three award winning ballets of artistic director David Bintley are presented in one evening, collectively as Penguin Café. A celebration of varying styles, this is the perfect blend of modern ballet that although different in theme are equally relevant and are still as incredibly thought-provoking since their creations within the last 25 years. 

The first, E=mc² is the story of an equation. You may recall it from a GCSE science lesson whereby the mass of an object is the measure of it's energy content... Physics was never one of my favourite topics and I can't say that I'd be particularly thrilled at the idea of devoting any more of my time to the study of it... that is until it is presented by a world-class ballet company. It's true that the equation is really important, but to understand it truly isn't all together straight forward. Here, Bintley presents a ballet that mirrors the components of the equation, such as E (energy) which is extremely powerful and musically colossal. M (mass) is a stark contrast that explores weight and stillness followed by 'The Manhattan Project' which involves little movement but is perhaps the most poignant moment. The use of intense sound is the energy released in the atomic bomb - it's completely overwhelming and somewhat difficult to watch although there is very little happening... a perfect example of the effect a live theatre experience can have. 

The Manhattan Project

The second piece presented is Tombeaux, the ballet about a funeral, even figuratively this does not suggest joyous entertainment but what we do have is a piece that is representative of hope. With the ending of one chapter is the beginning of another and this beautiful ballet suggests just that. What we see is a ballet that is reminiscent of Bintley's experience of the Royal Ballet whereby his vision for the company was at odds with the direction in which it was going. Bintley believed tradition was ebbing away and the spirit of the company was changing - evident in performance however this ballet company are still as much as ever at the top of their game. 

'Still Life' At The Penguin Café

The final performance is the hugely popular 'Still Life' At The Penguin Café. Each section within the piece is danced by an animal of the endangered species list. Cleverly, the endangered animal also represents a dance style that we are in danger of losing. This is far from a lecture about climate change and the extinction of various species but what is presented in a light, entertaining and humorous way highlights the issues. There is a stunning final image of Noah's Ark, the salvation for these animals and for humans too of which the stunning costumes suggest dual identity - similar to the way in which The Lion King musical approaches representation (but of course, this is the original). 'Still Life' At The Penguin Café is incredibly danced and this in particular is no ordinary night at the ballet. Premiering in 1988, this seemingly prophetical display is extremely entertaining theatre and the most vivid and colourful trip to the zoo. 

Click here to book for performances on Saturday 5th October at the company's home venue -  Birmingham Hippodrome. Alternatively visit the BRB website for further dates at Sadler's Wells in London and the Plymouth Theatre Royal. 

GISELLE (BIRMINGHAM ROYAL BALLET) Review June 2013

First performed by the Birmingham Royal Ballet in October 1999, what producer David Bintley describes as a proper Giselle, is resurected once more. 

The curtain rises on a quaint little village in the mountains, complete with waterfall. As with all of their productions, BRB's beautiful sets (this designed by Hayden Griffin) are most magical. With the warm, fairytale feel of a pantomime but the realism and detail of the finest photograph you could stare for hours just at the scenery. 

 

Iain Mackay and Jenna Roberts (By Roy Smiljanic) 

It is of course the world-class ballet that you have ultimately come to see and Jenna Roberts who leads as Giselle has quite a story to tell. Giselle and Loys are deeply in love. Loys has not been truthful and is actually Count Albrecht, son of the local lord and is already betrothed to Bathilde - a lady and his social equal. When a jealous Hilarion (a rival for Giselle's hand) proves who Loys really is and Bathilde arrives to claim him, the heartbreak is too much for Giselle who takes her own life. 

Iain Mackay and Jenna Roberts (By Roy Smiljanic) 

Much more dramatic than BRB's last offering of Coppélia the first act passes at the blink of an eye. The intensity of both the story and dazzling choreography are more than enough to keep an audience fixated to the stage. Iain Mackay as the handsome Count Albrecht shows off his incredible elevation and more than once received applause mid-routine. Tyrone Singleton proves his versatility in characterisation - his Hilarion is a far cry from Coppélia's Hans but danced with equal passion. The Harvest Pas De Deux  of Momoko Hirata and Tzu-Chao Chou is also a definite highlight.

Momoko Hirata and Tzu-Chao Chou (By Roy Smiljanic) 

A beautiful production, even in death - the haunting and gothic second act is graceful and is something of a visual spectacle. Also, the presence of a magnificent white horse is but one example of the extreme lengths this company go to impress. World class company and orchestra - another unmissable classic ballet at the Birmingham Hippodrome until Saturday 22nd June 2013. Book here. 

(Information on booking for the 2013/14 season at the end of Coppélia review.) 

COPPÉLIA (BIRMINGHAM ROYAL BALLET) Review June 2013

3rd March, 1995 - this production of Coppélia is first performed by the Birmingham Royal Ballet at the Birmingham Hippodrome. 6th June, 2013 - I see it for the very first time. Some 18 years on from it's premiere in the same venue there was barely a seat in the house left unoccupied. 

This is the story of Franz who falls for Coppélia, a doll left on a balcony by toymaker Dr Coppélius. Much to his fiancée Swanilda's anger, she and her friends enter the workshop and ultimately cause chaos in an attempt to distract Coppélius who is using Franz in an attempt to give life to his beloved doll. 

Previous Cast Photography - Birmingham Royal Ballet

Rory Mackay is delightful as Dr Coppélius, the bumbling character role that provides not only humour but plenty of charm as he works his magic upon the doll, or at least what he believes is the doll. Swanilda swaps positions with Coppélia's and is danced by Ambra Vallo gracefully throughout. All eyes are on her as not only does she execute the most remarkable footwork but her expression is incredibly transfixing and enough to tell a story alone. Tyrone Singleton is lover Franz and commands the stage  - a definite display of strength and control proving to be a technically assured principal.

Choreographed by Peter Wright, this 18-year-old production is in no way dated. The story is just as enchanting as it always was but there is a fresh and exciting vibe that turns the Birmingham Hippodrome into a land of magic and fantasy for it's duration.

What also goes a long way to help the production's breathtaking values is the incredible scenery and costumes by Peter Farmer. We have of course come to see the ballet, not particularly it's surroundings but the three lavish settings really are a spectacle. The Birmingham Royal Ballet orchestra is most impressive and fill the auditorium with a rich sound of Léo Delibes score.

Combine every element of the Birmingham Royal Ballet and it is clear just why they are considered among the best in the world. It is most heartening to know that such a wonderful company have their home here - one of Birmingham's many assets.

Coppélia is true joy. An dazzling and spectacular vision of love without a word uttered. Beautiful.

Watch Coppélia in rehearsals:

Book tickets for Coppélia which runs unil Saturday (8th June) here. You can also book for Birmingham Royal Ballet's future productions: Giselle (BOOK), 'Still Life' At The Penguin Café (BOOK), The Sleeping Beauty (BOOK), The Nutcracker (BOOK), Three Of A Kind (BOOK), The Prince Of The Pagodas (BOOK), Darkness And Light (BOOK) and La Fille Mal Gardee (BOOK).

For prioity booking and discounts, become a Friend of the Birmingham Royal Ballet. Click here for more information.