Review: Madam – The Royal Ballet’s intimate tribute to Ninette de Valois

This November, The Royal Ballet staged a distinctive homage to its founding figure, Ninette de Valois, through a concise, 90-minute programme titled Madam. Presented over two performances at the Linbury Theatre, the event offered a reflective glimpse into the life and impact of de Valois, the visionary behind both The Royal Ballet and The Royal Ballet School.

Ninette de Valois, affectionately known as ‘Madam,’ played a pivotal role in shaping British ballet. Her multifaceted career as a dancer, educator, and choreographer laid the foundation for what is today recognized as a cornerstone of the UK’s cultural heritage in dance. The programme was carefully curated by guest principal Lauren Cuthbertson, alongside The Royal Ballet’s director Kevin O’Hare and Emma Southworth, director of programming and strategy, ensuring a balanced blend of reverence and modern interpretation.

The evening combined archival film footage, spoken reminiscences, and dance excerpts that underscored de Valois’ influence. Contributions from current Royal Ballet School students highlighted the continuing inspiration her vision provides to emerging talent. Their reflections, alongside those of Iain Mackay, the school’s director, emphasized her pioneering role in defining the identity of British ballet.

Veterans of the company enriched the narrative with personal anecdotes. Wayne Sleep recounted his experience working on the solo Vestris, originally Every Goose Can, created by de Valois for him. Darcey Bussell shared insights on embodying the Black Queen in de Valois’ Checkmate, a ballet noted for its dramatic intensity. Conversations between Monica Mason, Antoinette Sibley, Anya Linden, and Lauren Cuthbertson added intimate, informal perspectives on Madam’s enduring imprint.

The performance selections illuminated both de Valois’ choreographic style and her lasting impact on male dancers in particular. The Royal Ballet cast performed segments from Checkmate, The Rake’s Progress, Job, and Vestris, showcasing rarely staged works that retain vitality despite infrequent live presentation. These pieces revealed the nuanced musicality and theatricality central to de Valois’ creative approach.

Complementing these historical works, the programme featured contemporary choreography, bridging past and present. Students performed Jessica Lang’s The First Voice, set to de Valois’ own poetry spoken by key figures including O’Hare, Mason, and Bussell. Additionally, Soren Chisholm, a pre-professional Royal Ballet School pupil, contributed Peace with Honour, signaling the ongoing evolution of the art form rooted in de Valois’ legacy.

Further duets and solos from repertoire spanning Frederick Ashton’s Ondine and Marius Petipa’s The Sleeping Beauty to Kenneth MacMillan’s Concerto and Wayne McGregor’s Chroma extended the evening’s thematic arc. The inclusion of Christopher Wheeldon’s recently premiered Beautiful Shadow demonstrated the continuity and innovation fostered by The Royal Ballet’s lineage.

Madam functioned as a multifaceted celebration, not only revisiting foundational moments of British ballet but also affirming the vitality of de Valois’ vision in contemporary practice. Presented with understated elegance, the tribute balanced historical reverence with fresh artistic voices, leaving audiences with a compelling sense of both heritage and progression.

The event’s success underscored the importance of revisiting the roots of ballet to understand its current form and future directions. By involving students alongside seasoned professionals, The Royal Ballet highlighted the transmission of artistic values across generations. While details about future presentations remain limited, Madam set a high standard for commemorative programming within the dance community.

Jonathan Gray, noted for his extensive background in dance journalism and curation, provided evaluative commentary accessible through gramilano.com, enriching the context around Madam’s significance. His insights contribute to a growing discourse on the preservation and reinterpretation of ballet’s historical figures, ensuring that de Valois’ contributions continue to resonate in today’s cultural landscape.