★★★★★ That BRB managed to get this on at all is a small miracle - and the undiminished determination with which the dancers attack their work inspires passion in us all.
Tag - Cesar Morales
★★★✰✰ Carlos Acosta, ten months in to his directorship of BRB, has provided it with a mixed bunch of shoots for a fresh start. Their first flowering may have been cut short by the closure of theatres but the company has already shown its resilience, and will do so again...
★★★★✰ In spite of all the problems with performing a proscenium arch ballet in an arena setting with a purpose-built stage, it is no less magical than any other production and in some ways, it works advantageously.
★★★★✰ ...exemplary performances from Momoko Hirata as Giselle and César Morales as Albrecht make for a richly rewarding and moving experience.
Birmingham Royal Ballet ★★★✰✰ & Ballet Black ★★★★★ The Suit rewards multiple viewings and it thoroughly merited the opportunity of the bigger platform...
★★★★✰ I look forward to the changes inevitably coming to BRB, but I can't believe any new director will turn their back on such repertoire gems as La fille mal gardee and their Peter Wright Nutcracker.
★★★★✰ It was a fine team performance from the company but particular honours go to Momoko Hirata’s Juliet who let us know what she was thinking and feeling at every moment.
★★★✰✰ Aladdin never fully finds its feet, but there’s a lot to like about the show, from the cheery group numbers to the striking visuals.
So how did a good Chilean boy end up dancing ballet in Europe...
★★★✰✰ "... Wink is a 4 star piece. We need to see more of Jessica Lang’s work..."
★★★✰✰ When I think of Birmingham Royal Ballet (BRB) under David Bintley I think of tradition with a capital T and the latest double bill underlines that in spades.
...from the off we all knew it was a worthy gift (to Birmingham) and 24 years on it's still routinely called the best by all who have seen a few.
Gillian Lynne has made Helpmann and Benthall's wartime collaboration into a gutsy dramatic ballet, probably with more choreography than Helpmann attempted.
Don’t expect big emotional highs and lows or deeply defined characters, just a clear narration of a story that everyone knows. So if we judge it on these terms how does it do?
The programme included works both old and new but it was not an altogether successful mixture. The dancers looked most at home, and at their most sleek and impressive, in Faster, a work made on them this year by their Artistic Director, David Bintley, evoking the striving of competitors in the Olympics.