Birmingham Royal Ballet: Triple Bill at Sadler's Wells

I will always love Birmingham Royal Ballet for many reasons, but in 2020, my main form of such love is that they are the company that welcomed me back into the theatre and made it possible for an audience to see something live again. I can’t tell you how special it felt to have a tangible experience with a ticket again; to climb up stairs knowing there was a seat for me inside the auditorium and to be surrounded by people – even if they were all socially distanced away from me. I write this review as we come out of another lockdown, the tier system back in place and feeling slightly jaded about a more positive new year on the horizon. The triple bill curated for BRB at Sadler’s Wells has really stuck with me during this second lockdown and has made me excited for live dance again.

Of course, returning to the theatre was quite a bizarre experience in this strange time we find ourselves in. Sure it felt pretty dystopian, but what part of life this past year hasn’t felt like a scene from 1984? There are definitely pros and cons to the new theatre set-up. On the one hand, it obviously feels strange and there isn’t a buzz anymore as you wait to be let into the auditorium. Seeing people you haven’t seen for a while and not knowing the right etiquette to greet them was slightly awkward at times. Having allocated seating times felt more like boarding a Ryan Air flight than it did stepping into a lovely dance performance. However, boy are there some pros to the experience. Not having anyone sitting near me felt amazing. Being able to stretch out, not having to nudge the person next to me for rustling sweet wrappers and being far away from people talking, felt pretty great. I had a chair for my coat, another for my bag, my long legs could finally move comfortably; is this what VIPs experience in their daily life? Hearing the orchestra warm up put a lump in my throat. I think I had supressed all emotion surrounding live theatre as it hurts less to pretend that I don’t miss it that much. But hearing that sound of violins and cellos tentatively tuning their strings brought everything back and reminded me of how long it had been since I had heard that sound live.

Cesar Morales and Momoko Hirata in 'Our Waltzes', photo copyright Johan Persson

As the lights went down, in flew members of the company, dancing in Our Waltzes by Vicente Nebrada and set to a score by 19th and 20th century Venezuelan composers. It clearly gives a huge nod to Dances at a Gathering by Jerome Robbins, but I didn’t really mind that much, and to be honest I find parts of Dances at a Gathering a bit too long, whereas I never felt this way with Our Waltzes. Momoko Hirata was on fire, with fast pirouettes, high energy and effortless technique pouring across the stage. Partnered by Cesar Morales, who was also on equally fine form, the two of them really stood out and created such a bright and sunny mood. I liked how flowing and elegant the choreography was in this piece. It put a smile on everyone’s faces, much needed this year, and I think really reminded the audience of all that is sweet and beautiful in the world. I enjoyed it a lot and look forward to seeing it again.

Brandon Lawrence in 'Liebestod', photo copyright Johan Persson

The piece was followed by Liebestod, which was choreographed by Valery Panov and danced by Brandon Lawrence. There was something very raw about this solo. The piece opens with Lawrence in a foetal position and builds as his body unwraps itself and extends, leading into an exuberant solo dance set to music by Wagner. Now, Wagner isn’t for everyone, he certainly isn’t for me at the best of times, but here it was magical. The music was powerful and pretty epic, and perfectly supported the choreography, which felt like we were watching a rebirth or awakening of a being. We carry on the Jerome Robbins similarities, as some of the piece is reminiscent of Afternoon of a Faun, but again, this doesn’t matter. There was something incredibly intriguing in watching Lawrence’s powerful masculinity and strong body being reduced to childlike stature as he returns to the floor as the solo comes to its close. His dancing was powerful and impressive, as usual, and he interpreted the choreography beautifully.

Birmingham Royal Ballet in 'Lazuli Sky', photo copyright Johan Persson

The final piece of the programme was Lazuli Sky, a new commission choreographed by Will Tuckett. This was the piece that everyone came to see as it had been marketed big time by the company and Sadler’s Wells. There were parts to the piece that I enjoyed, but in places it was too derivative of Hofesh Shechter, who I think does that style better, and some of the choreography felt a bit bland. I wanted to feel that richness of contemporary choreography, but I didn’t really get it. The lighting installations and patterns on the floor felt random, and I wasn’t too sure of their significance, and the large ‘ship sail’ skirts confused me. With all this being said, though, there was much to like, mostly the energy and performance given by the dancers who all danced brilliantly.

Unfortunately, Birmingham Royal Ballet had to cancel their upcoming performances of The Nutcracker, but at least for those of us who were able to see the mixed programme, we have the memory of seeing them and the hope of seeing them at some point soon. Until then, let’s be merry, be thankful for the arts, and support them where we can.