★ ★ ★ ★

Reviewer - Natasha

*Disclaimer: Gifted tickets in return for an honest review

BRB2 are something pretty special. Recently launched as the junior company of Birmingham Royal Ballet, their inaugural tour showcases a remarkable range of classical and contemporary dances, selected (and sometimes choreographed) by director Carlos Acosta. Despite being a company of 18-22-year olds, their performances are incredibly accomplished, mature and experienced, simultaneously nudging the boundaries of ballet with some occasionally experimental interpretations, in a total of twelve numbers performed in 80 minutes.

The show’s opening is fascinating, as I experienced for the first time the full depth of this wonderful theatre’s stage: bereft of curtains, stripped back to its painted black brickwork, wings exposed. The corps de ballet drift in, dressed in their everyday clothes, warming up and getting in costume. This deconstruction gives us a definite sense of a new dance company preparing for a gala performance, and a sense of the artifice and uniqueness of ballet, transforming the ordinary into a thing of beauty. Throughout the show I was astounded by the apparent effortlessness and technical proficiency of the dancers; the outcome of years of intensive training and rehearsals appears onstage as something magical and otherworldly as a drop descends and music begins.

In neat juxtaposition, each Part of the show opens with Rachmaninov. In a stunning first dance, Frederick Ashton’s creation Rhapsody (1980), set to Rachmaninov’s Rhapsody on a Theme of Paganini, brings wonderful shapes and lines to the stage. It also kicks off a wonderful night of costuming, with floaty white outfits studded with sparkles. In a technically tricky pas de deux, Frieda Kaden is perfectly poised and radiates joy; Oscar Kempsey-Fagg skilful and playful.

The production continues to feature several pas de deux, next leaping back to the early 19th century as Olivia Chang Clarke transforms into Bournonville’s coquettish fairy La Sylphide. She takes flight across the stage in a breath-taking performance, entrancing James, danced by Eric Pinto Cata who demonstrates a perfect combination of grace and strength, with turns, spins and entrechats galore. The next is from Swan Lake, beginning with a sensual and languorous performance Maïlène Katoch, which picks up pace as Mason King masters a series of seemingly effortless lifts. My favourite pas de deux of the show was the Acosta-choreographed reimagining of The Dying Swan, presented as Dying Swans in duet, featuring two very different styles expirations which nonetheless work exceptionally well in unison before diverging. Regan Hutsell perfects classical pas de bourées in contrast to the brutality of Jack Easton’s contrasting death throes. The dance opens with amazing lighting which seems to morph the dancers’ bodies even before they start moving them in unexpected ways to the number’s challenging and imaginative choreography moved their bodies in unexpected ways, The performance also benefits tremendously from the live accompaniment from pianist Jeanette Wong and cellist Antonio Novais (together with orchestra leader/violinist they were quite rightly brought on stage for the end bows - I wish this happened in more shows!) Part 1 ends on a high with Beatrice Parma and Enrique Bejarano excelling as Diana and Actaeon, particularly his coupé jeté en tournant en manège, and her stunning series of fouettés.

Ben Stevenson’s 1984 piece End of Time begins Part 2 - costumes, dance and staging representing a post-apocalyptic landscape as Lucy Waine and Oscar Kempsey-Fagg dance in incredible unity as the last two people left on earth. (At many times their bodies seem to be as one as they intertwine before separating.) Accompanied by more live cello and with the dancers beautifully spot-lit, this is a highly emotional performance.

The mood is lightened as À Buenos Aires kicks off some nightclub numbers, here giving us ballet by way of tango and jazz as Frieda Kaden and Jack Easton turn in assuredly confident performances. Regan Hutsell’s solo Je ne regrette rien (choreographed by Ben Van Cauwenbergh) is an audience favourite. The highlight of this act for me was Enrique Bejarano Vidal’s solo as Le Bourgeois - by turns louche and languid, a tipsy bystander joining the show, owning the stage and doing Brel’s song absolute justice. It was perfect timing to place such comedy amongst the more anguished pieces on offer.

Next, Olivia Chang Clarke and Eric Pinto Cata excel, showing us more of Acosta’s choreography with his highly seductive pas de deux from Carmen. In the penultimate number, Lucy Waine’s exquisite enactment of Will Tuckett’s contemporary piece set to Monteverdi’s Nisi Dominus is beautifully lit but would benefit from a change in costuming (I felt the crinolette detracted from the dancing.) The showcase ends with an amazing finale: Majismo. It was a rare treat to see an ensemble piece at last after the intensive duets and solos on offer (I’m hoping for more in the next showcase!), but what a piece it was. For starters. the costumes were fantastic, including gorgeous layered black and white skirts. Including several different types of Spanish dances, with the performers sometimes breaking into groups (including a trio of women trying to outdo each other), this was a wonderful climax to a wonderful show.

Overall, Acosta has selected a varied and well-paced programme of dances, and the show has a fantastic set, thoughtful lighting (by Johnny Westall-Eyre) and fabulous costumes (Elaine Garlick). I would have enjoyed more live orchestration and felt that despite much boundary-blurring, gender and sexuality remained largely in their traditional boxes, but nevertheless thoroughly enjoyed this groundbreaking performance. The athleticism of the dancers, demonstrating strength and control as well as grace and delicacy, technical ability and emotive performances, is simply amazing. If you would like to see more classical ballet with a contemporary edge, this is for you!

BRB2 are on tour at New Theatre Peterborough (May 3-4); Linbury Theatre, Royal Opera House, London (June 13-14, as part of the Next Generation Festival); and Wolverhampton Grand Theatre (June 24-25).

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