Review: A Centenary Celebration with The Royal Ballet, Birmingham Royal Ballet and the Royal Ballet School

To commemorate a century since its founding in 1926, the Royal Ballet School presented a special gala titled A Centenary Celebration, uniting its legacy with that of the Royal Ballet and Birmingham Royal Ballet. This landmark event, reported by gramilano.com, took place at the Royal Opera House and marked the start of the 2023–24 season with three performances showcasing the evolution and enduring influence of British ballet.

The Royal Ballet School, established by Dame Ninette de Valois, remains a cornerstone institution in classical ballet training worldwide. Its founding vision emphasized nurturing dancers who would not only excel artistically but also safeguard and advance the art form. The school has long served as a feeder for the Royal Ballet and Birmingham Royal Ballet, both of which trace their origins back to de Valois’s early initiatives in the 1930s and 1940s.

The gala’s programming was a thoughtfully curated journey through 100 years of ballet heritage and innovation, featuring a blend of established masterpieces, contemporary works, world premieres, and excerpts performed by both professional and student dancers. Over a three-hour running time, twelve works were presented, punctuated by two intervals, and enriched by live orchestral and solo music.

The evening opened with excerpts from Checkmate, a rarely staged 1937 ballet choreographed by de Valois to Arthur Bliss’s score. This neoclassical piece, depicting a dramatic chess battle between allegorical figures of Love and Death, set a tone of theatrical elegance. It featured a mix of seasoned Royal Ballet principals alongside pre-professional Royal Ballet School students, highlighting the school’s role in preparing dancers for demanding repertoire.

Following this, the audience was treated to Birthday Offering, a courtly spectacle by Frederick Ashton created in 1956 to celebrate the Royal Ballet’s 25th anniversary. This piece showcased classical grandeur through a pas de sept couples dressed in richly embroidered tutus and tunics, culminating in a jubilant finale led by Marianela Nuñez and Patricio Revé. While some spatial inconsistencies in the expansive waltz were noted, the performance retained a regal and enchanting atmosphere.

The program then shifted towards contemporary and premiere works. Christopher Wheeldon’s Beautiful Shadow and Cathy Marston’s Night Falling, both world premieres, explored themes of human connection, emotional isolation, and vulnerability. These duets were performed by leading Royal Ballet principals, combining sculptural choreography with evocative lighting and soundscapes, including Benjamin Britten’s compositions.

Kenneth MacMillan’s Winter Dreams pas de deux followed, presenting a poignant, intimate moment from his 1990 work set to Tchaikovsky, performed by Birmingham Royal Ballet principals. This was succeeded by Wayne McGregor’s Nimbus (2007), a dynamic and technically precise piece illustrating fluidity and interaction among four dancers from both companies.

Injecting a lighter, more playful tone, Joshua Junker’s Unforgettable, set to Elvis Presley songs and performed by a nine-strong Royal Ballet cast, provided a vibrant commentary on celebrity culture through energetic ensemble work.

The second half of the gala introduced David Bintley’s ecocritical ballet Still Life at the Penguin Café – Southern Cape Zebra, performed by Birmingham Royal Ballet. This one-act work, dating from 1988, blends English wit with a cautionary message on environmental neglect, brought to life through striking costumes and rhythmic scores.

Royal Ballet principals Sarah Lamb and Steven McRae showcased Danse Russe, a pas de deux choreographed by Loughlan Prior to a solo violin rendition of Tchaikovsky’s Swan Lake excerpt. This piece emphasized the dancers’ technical brilliance and musicality.

Classic repertoire highlights included the Manon Act I Bedroom pas de deux by MacMillan, previewing the upcoming season production with Francesca Hayward and Marcelino Sambé, and the Swan Lake Act III pas de deux from Liam Scarlett’s 2018 production, performed by Fumi Kaneko and Vadim Muntagirov. Kaneko’s Odile was noted for its technical audacity, particularly her series of fouettés.

The gala concluded with Centenary, a grand finale choreographed specifically for the occasion by Royal Ballet first soloist Valentino Zucchetti. This ambitious ensemble piece brought together students across all years of the Royal Ballet School alongside professionals from both companies. The stage was progressively filled with waves of dancers in color-coded uniforms and classic attire, creating a visually staggering spectacle reminiscent of Balanchine’s grandeur and Busby Berkeley’s choreography, culminating in a shower of golden confetti.

Under the artistic direction of Kevin O’Hare (Royal Ballet), Carlos Acosta (Birmingham Royal Ballet), and Iain Mackay (Royal Ballet School), this collaboration successfully honored the founder’s legacy while celebrating the school’s future. Through a diverse repertoire that balanced tradition with innovation and featured a broad spectrum of talent, the Centenary Celebration underlined the Royal Ballet School’s pivotal role in shaping British ballet over the past century.

Details regarding future performances or tours of some featured works, such as the full staging of Checkmate or the complete Still Life menagerie, remain limited at this time. Nonetheless, the gala confirmed the continuing vitality and relevance of the institutions Dame Ninette de Valois created and nurtured.