To celebrate the 25th anniversary of their move to Birmingham, the Birmingham Royal Ballet presents a triple bill of contrasting works at the Birmingham Hippodrome. As a relatively small company, the dancers have to be flexible and adapt to a whole range of dance styles. This triple bill, Theme and Variations, is the perfect showcase for the dancers, ranging from American Balanchine, to classic Ashton, and cutting edge contemporary work.
The evening opens with George Balanchine's
Theme and Variations, the very piece that the Birmingham Royal Ballet performed 25 years ago in their debut appearance as Birmingham's new ballet company. This is a spectacular piece to open the evening, with glittering designs by Peter Teigen perfect for this momentous occasion. It is incredibly interesting to see the Birmingham Royal Ballet perform in an American style; the
corps are marvellous, with their assured technique and discipline making light work of the tricky Balanchine steps.
Joseph Caley gives a polished and confident performance, which speaks volumes of his years of experience with the company. Momoko Hirata, as the principal girl, is exquisite. Her footwork is light, quick and impeccably accurate; her every movement is beautifully precise, whilst all the while she gives the impression of a completely effortless performance.
The second piece of the evening is
Kin, an abstract ballet choreographed by Alexander Whitley. Whitley trained with the Birmingham Royal Ballet before leaving to pursue contemporary dance and choreography. With
Kin, we see contemporary technical accomplishment perfectly wedded to the deep, emotional sophistication that only a ballet can achieve.
The ten-strong cast are expertly led by Joseph Caley and Elisha Willis. Willis' performance in particular is imbued with feeling and tension. The dynamic Tzu-Chao Chou shines in an excellent solo with superb elevation and movement so fast he becomes a blur. The company again show their versatility, as each and every dancer embraces the challenging off-balance and oddly inverted elements of Whitley's choreography; such a departure from the brash exuberance of
Theme & Variations.
However, the Teigen's lighting design for
Kin is so dark and shadowy that it is difficult to appreciate the full extent of Whitley's choreography. Whilst the desire to use lighting to create a particular mood or atmosphere is understandable, it should never become so difficult to follow the choreography.
Enigma Variations is the perfect end to a beautiful evening, and a chance for the company to show off the lyrical, English style of ballet for which they are best known.
Enigma Variations is Frederick Ashton at his best, as the intricately nuanced choreography is intrinsically linked to Elgar's music. Dorabella's stutter, reflected in the music by fluttering woodwind, is personified by the engaging Elisha Willis and her flighty, syncopated
pas-de-chats. Arancha Baselga charms as the romantic Ysobel in true Ashtonian style, with delicate and expressive
épaulement.
Whilst
Enigma Variations does not have a clear overarching narrative, its succession of character portraits is funny, touching and endearingly English in all its eccentricity; the perfect piece to celebrate the Birmingham Royal Ballet's home in one of Britain's most diverse and distinctive cities.
Theme and Variations is now on tour throughout the UK until Saturday 31 October, with David Bintey's latest work
The King Dances replacing
Kin.
Photo credit: Bill Cooper
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