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Jan McNulty

Press Release: BRB Press Release: Birmingham Royal Ballet announces 2019/20 season

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BIRMINGHAM ROYAL BALLET ANNOUNCES 2019/20 SEASON

 

10 productions, 11 venues, 127 performances, including first time collaborations with Ballet Black and newly appointed Director Carlos Acosta. It’s a season that’s bursting with brilliance!

 

Birmingham Royal Ballet’s 2019/20 season marks an exciting period of transformation. For the first time in the company’s history, the season has been created in partnership with leaders from across the world of dance, including Ballet Black and Birmingham Royal Ballet’s newly appointed Director Carlos Acosta CBE, who bring fresh perspectives to the programme, and herald a new era and a bright future ahead. 

 

The 2019/20 season marks the transition between David Bintley’s Directorship and Carlos Acosta’s first season, which will be in 2020/21, and creates opportunities for the Company to experiment with new partnerships to grow and inspire audiences, as well as presenting some of its best loved classics including works by Director Laureate Sir Peter Wright.

 

The first full-length production in the 2019/20 season is David Bintley and Galina Samsova’s exquisite production of Giselle (25 Sep – 2 Nov), swiftly followed by the welcome return of Sir Peter Wright’s stunning Swan Lake (29 Jan – 4 Apr). The end of the season marks a new beginning, as new Director Carlos Acosta is welcomed by Birmingham Royal Ballet’s inaugural performances of his ravishing comedy Don Quixote (19 - 27 Jun), which receives its first UK performances outside London. Carlos will also curate an energising and celebratory festival at Birmingham Hippodrome and Sadler’s Wells, London in June 2020. 

 

TWO BALLET NOW WORLD PREMIERES

 

The 2019/20 season features two world premieres in the Ballet Now talent development programme. The first, by Queensland Ballet’s Jack Lister, appears alongside Cathy Marston’s critically-acclaimed The Suit(performed by Ballet Black) and Twyla Tharp’s sizzling tribute to ‘Old Blue Eyes’, Nine Sinatra Songs. This exciting mixed programme is performed in Birmingham and London (19 Sep - 30 Oct). 

 

Jack Lister said: “I’m really looking forward to working with BRB’s incredibly talented dancers and alongside such highly respected choreographers. To be given this platform for my first international commission and to collaborate with such a truly gifted creative team is a dream come true."

 

Artistic Director & Founder of Ballet Black Cassa Pancho MBE said: “I'm thrilled that Ballet Black will be joining Birmingham Royal Ballet for their mixed programme in autumn 2019. It's a wonderful opportunity to collaborate with one of the most established British ballet companies, and for our own brilliant dancers to work alongside the world-class talent at BRB."

 

The season’s second world premiere, choreographed by Daniela Cardim, is part of a mixed programme curated by incoming Director Carlos Acosta as part of his soon-to-be revealed festival. This bill is completed by George Balanchine’s exuberant Theme and Variations and Goyo Montero’s Chacona. Created for Uruguayan company National Ballet Sobre in 2017, Chacona is a thrilling, physical piece set to violin, guitar and piano which receives its UK premiere in this programme. This mixed programme is presented at Sadler’s Wells, London (11 – 13 Jun). Further programme announcements for the Carlos Acosta / Birmingham Royal Ballet festival will be revealed in due course. 

 

THE RETURN OF THE NUTCRACKER & EVENING OF MUSIC AND DANCE

 

Sir Peter Wright’s acclaimed production of The Nutcracker returns to Birmingham Hippodrome for the festive season (22 Nov – 14 Dec), transporting the audience beyond the theatre to a realm of giant Christmas trees and dancing snowflakes. 

 

The acclaimed Royal Ballet Sinfonia takes centre stage once more for a spectacular Evening of Music and Dance (14 & 15 Feb) in Birmingham and Northampton. This popular annual gala includes well-loved gems and hidden classics selected by the Royal Ballet Sinfonia conductors alongside danced excerpts from Birmingham Royal Ballet’s repertory. 

 

FOR FAMILIES

 

Birmingham Royal Ballet will once again be embarking on a spring tour (May 2020) to regional venues with a programme of work specially designed for families. Its mid-scale tour makes ballet even more accessible for younger audiences, whilst still delighting and entertaining adults. Further details to be announced.

 

YOUNG AUDIENCES

 

Younger audience members can enjoy Birmingham Royal Ballet’s First Steps programme. These hour-long, interactive shows are adapted for children aged 3+. A storyteller captures their imagination, introducing the music, leading characters and some of the technical magic – the perfect introduction to ballet. 

 

Alongside the main programme, Birmingham Royal Ballet continues to introduce new audiences from touring venues across the country to their world-class dance and music. From primary schools to care homes, community centres to museums, the Company unlocks amazing opportunities for people of all ages and abilities. 

 

ENGAGEMENT & PARTICIPATION

 

Following the success of Cinderella Dreams in 2017 and Sleeping Beauty Dreams in 2018 at Birmingham Hippodrome, Birmingham Royal Ballet will embark on Swan Lake Dreams; an ambitious engagement and participation project which will be performed on the main stage at Birmingham Hippodrome (23 February 2020), as well as at Mayflower Theatre in Southampton (2 February 2020) and Theatre Royal in Plymouth (31 March 2020). 

 

A cast of approximately 70 selected students from each of the three areas will be given the opportunity to train, rehearse and perform in a full-length ballet alongside Birmingham Royal Ballet dancers. Open to ballet students aged 9+, the Swan Lake Dreams project gives insight into the Company workings whilst aiming to develop talent and raise aspirations for dancers of all ages. Auditions will take place between July and October 2019 with intensive and weekly rehearsals from July through to the performances in 2020. 

 

The Company will partner with the Royal Birmingham Conservatoire, whose orchestra will accompany the Swan Lake Dreams Birmingham performance, conducted by Birmingham Royal Ballet’s principal conductor Paul Murphy.

 

Julian Lloyd Webber, Principal of Royal Birmingham Conservatoire said: “I am delighted that the Conservatoire will partner with Birmingham Royal Ballet on their ground-breaking project Swan Lake Dreams. This is yet another example of the Conservatoire’s commitment to creating unique opportunities for our students to collaborate with world-class partners around the region and beyond.

 

To alleviate barriers to participation, Birmingham Royal Ballet launched its Dreams Bursary Fund in 2018 which supports talented young dancers aged 8 -18 to fulfil their potential - whatever their background. This carefully targeted resource provides talented children with financial support to take part in any Birmingham Royal Ballet dancer development or Birmingham Royal Ballet Dreams opportunity, giving them the best possible chance to let their talent flourish and grow. The Dreams Bursary Fund is open to donations from individuals, organisations and other fund-giving organisations. Held exclusively to support access to ballet participation, a number of bursaries are considered every year and can include, but are not limited to, support for attendance, transport, accommodation and dancewear. 

 

Dance Track, Birmingham Royal Ballet’s talent identification and training programme, is now in its 22nd year, working with 50 primary schools across Birmingham. Each year the Dance Track team engages with in excess of 2,500 children age 5 and 6. 

 

The programme offers free weekly classes and uniforms plus opportunities to see Birmingham Royal Ballet in rehearsal and performance. 80 children showing particular aptitude and enjoyment in their dance classes are invited back for a further year of training, where they are prepared for auditions at Elmhurst Ballet School and The Royal Ballet School associate schemes. 


135 children from north, south and central Birmingham currently attend weekly classes and 32 children attend Dance Track Plus classes. Many of the children have performed in Birmingham Royal Ballet’s productions in Birmingham and at the Royal Albert Hall, London. In the last 15 years, 17 children have been accepted into full-time vocational schools around the country. Dance Track would not be possible without generous donations from multiple trusts, foundations and individual donors and this pioneering programme continues throughout the 2019/20 season. 

 

Established in 2002, Freefall Dance Company provides high-quality training and performance opportunities for talented adults with severe learning difficulties, challenging stereotypical views of both dance and people with learning disabilities.  The Company meets weekly at Birmingham Royal Ballet studios to hone their ballet technique, prepare for performances and develop leadership and facilitation skills for their own education and outreach projects. Each year, Freefall showcases its work through performances as well as at international dance-for–screen festivals with ground-breaking performance films.
 

Freefall’s initial film in 2012, Freefall, reached an estimated 1.5million people on live-site screens across the country. Its second film One Fine Day followed in 2014 with the film being shown at over ten festivals across Europe and North America. The third film We Are Here premiered in 2017 and incorporated BRB’s principal dancers Iain Mackay and Jenna Roberts.  

In the 2019/20 season, Freefall Dance Company will collaborate with current Director of Birmingham Royal Ballet David Bintley and award-winning film director Ross MacGibbon on a new landmark dance-for-screen project. Further details to be announced.

 

Mixed Programme
New Lister | The Suit | Nine Sinatra Songs
September – October 2019

 

New Lister – a co-production with the Queensland Ballet
Choreographer: Jack Lister

Composer: Tom Harrold

Designer: Thomas Mika

Lighting: Alex Berlage

The Suit
Choreography: Cathy Marston
Music: Philip Feeney
Designs: Jane Heather
Lighting: David Plater
Dramaturgy: Edward Kemp

 

Nine Sinatra Songs
Choreography: Twyla Tharp
Songs sung by: Frank Sinatra
Scenic Design originally by: Santo Loquasto
Original costumes by: Oscar de la Renta
Lighting originally by: Jennifer Tipton 

 

Birmingham Hippodrome
Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000
birminghamhippodrome.com

Thursday 19  – Saturday 21 September

 

Sadler’s Wells, London
Rosebery Avenue, London, EC1R 4TN; 020 7863 8000
sadlerswells.com

Tuesday 29 – Wednesday 30 October

 

Giselle
September – October 2019

 

Choreography: Marius Petipa, Jean Coralli, Jules Perrot, David Bintley

Music: Adolphe Adam

Production: David Bintley, Galina Samsova

Designs: Hayden Griffin

Lighting: Mark Jonathan


Birmingham Hippodrome
Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000
birminghamhippodrome.com
Wednesday 25  – Saturday 28 September

 

Theatre Royal Plymouth

Royal Parade, Plymouth, PL1 2TR; 01752 267222
theatreroyal.com
Wednesday 23  – Friday 25 October

 

Sadler’s Wells, London
Rosebery Avenue, London, EC1R 4TN; 020 7863 8000
sadlerswells.com
Friday 1  – Saturday 2 November

 

Peter and the Wolf
October 2019


Choreography: Ruth Brill
Music: Sergei Prokofiev
Designs: Spike Kilburn
Lighting: Peter Teigen

 

Theatre Royal Plymouth

Royal Parade, Plymouth, PL1 2TR; 01752 267222
theatreroyal.com
Saturday 26 October 

 

Sir Peter Wright’s The Nutcracker
November – December 2019

 

Choreography: Peter Wright, Lev Ivanov, Vincent Redmond
Music: Pyotr Ilyich Tchaikovsky 

Production: Peter Wright
Designs: John F. MacFarlane
Lighting: David A. Finn

 

Birmingham Hippodrome
Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000
birminghamhippodrome.com

Friday 22 November – Saturday 14 December
On sale now
 

Swan Lake
January – May 2020

Choreography: Peter Wright, Lev Ivanov, Marius Petipa

Music: Pytor Ilyich Tchaikovsky
Production: Peter Wright, Galina Samsova
Designs: Philip Prowse
Lighting: Peter Teigen


Mayflower Theatre, Southampton

22-26 Commercial Rd, Southampton, SO15 1GE; 023 8071 1811
mayflower.org.uk

Wednesday 29 January  – Saturday 1 February
On sale 30 January 2019

 

Birmingham Hippodrome

Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000
birminghamhippodrome.com

Wednesday 19 February  – Saturday 29 February

 

The Lowry, Salford
Lowry Outlet, Pier 8, The Quays, Salford, M50 3AZ; 0843 208 6000
thelowry.com
Wednesday 4  – Saturday 7 March

 

Sunderland Empire
High Street West, Sunderland, SR1 3EX; 0844 871 7627
atgtickets.com/venues/sunderland-empire

Thursday 12  – Saturday 14 March

 

Theatre Royal Plymouth

Royal Parade, Plymouth, PL1 2TR; 01752 267222
theatreroyal.com

Wednesday 1 – Saturday 4 April

 

An Evening of Music & Dance
February 2020

 

Symphony Hall, Birmingham
Broad Street, Birmingham, B1 2EA; 0121 780 3333
thsh.co.uk

Friday 14 February, 7.30pm

 

Royal & Derngate, Northampton
19-21 Guildhall Rd, Northampton NN1 1DP; 01604 624811
royalandderngate.co.uk

Saturday 15 February, 7.30pm
 

Mixed Programme
Theme and Variations | Chacona | New Cardim
June 2020

 

Theme and Variations

Choreography: George Balanchine
Music: Pyotr Ilyich Tchaikovsky 
Designs: Peter Farmer
Lighting: Peter Teigen


Chacona
Choreography: Goyo Montero
Music: Johann Sebastian Bach 

Costume design: Verena Hemmerlein

 

New Cardim
Choreographer: Daniela Cardim

Composer: Paul Englishby

Designer: April Dalton

Lighting: Peter Teigen

 

Sadler’s Wells, London
Rosebery Avenue, London, EC1R 4TN; 020 7863 8000
sadlerswells.com
Thursday 11 – Saturday 13 June

 

Don Quixote
as part of the Carlos Acosta Festival

June 2019

 

Choreography: Carlos Acosta after Marius Petipa

Music: Ludvig Minkus
Arranged and orchestrated by: Martin Yates
Production: Carlos Acosta
Designs: Tim Hatley
Lighting: Hugh Vanstone


Birmingham Hippodrome
Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000
birminghamhippodrome.com
Friday 19 – Saturday 27 June

 

NOTES TO EDITORS: 
 

Birmingham Royal Ballet 
Based at Birmingham Hippodrome since 1990, Birmingham Royal Ballet is the United Kingdom’s leading classical ballet touring company performing a range of traditional, classical and heritage ballets as well as ground-breaking new works with the aim of encouraging choreographers of the future.

 

The company’s Director is the award-winning David Bintley, CBE and Music Director is Koen Kessels. Birmingham Royal Ballet performs at Birmingham Hippodrome for approximately ten weeks of the year and the remainder of the year tours throughout the United Kingdom and overseas.   

The Royal Ballet Sinfonia is Britain's busiest ballet orchestra, playing for Birmingham Royal Ballet's wide-ranging programme in the UK and abroad. The Sinfonia also plays frequently for The Royal Ballet and many of the world's other leading ballet companies, including regular performances with; The Royal Ballet, Paris Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet.

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Suffice to say I am devastated that The Lowry has been dropped from the Autumn season next year.

 

 

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6 minutes ago, Jan McNulty said:

Suffice to say I am devastated that The Lowry has been dropped from the Autumn season next year.

 

 

 

Me too Janet but it's not just the Lowry. BRB are only performing outside Birmingham at Plymouth and Sadlers Wells in the autumn. Don't know why Giselle isn't deemed suitable to be performed elsewhere. Also why couldn't Don Q be performed outside Birmingham as few cities outside London will have been able to have it performed. Perhaps they're waiting to see how it goes in Birmingham but I don't see why Giselle couldn't be done elsewhere.

 

Rather distressing to see the prevalence of modern ballet in the mixed bills. Up until now BRB have always performed some great mixed bills from Ashton, De Valois, Cranko, to name just 3 great choreographers. Sad if they're following the RB and ENB by concentrating on mainly modern triples.

 

Also what is the Carlos Acosta Festival mentioned here?

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Very upset to see that Bristol Hippodrome has been dropped this year.   I looked forward to it every year.  🙁 I too am not excited by the triples either, for the same reason that I favour a novel over short stories.....

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4 minutes ago, jmhopton said:

 

 

Also what is the Carlos Acosta Festival mentioned here?

 

Who knows but if I had to take an educated guess it would include his Acosta Danza company.

 

They are doing Theme and Variations though!

 

I'm VERY excited about the collaboration with Ballet Black though - The Suit is fab!

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1 minute ago, Jan McNulty said:

They are doing Theme and Variations though! 

 

Yes but with 2 modern ballets. Theme and Variations seems to be the only traditional ballet on on offer in the triples. As I'm not a huge Balanchine fan I think I'll give the entire year a miss next year. In the past I've seen Pineapple Poll, Checkmate and Daphnis and Chloe. There is nothing this year that attracts me at all. If I go at all it will be to see dancers rather than the rep.

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27 minutes ago, Jan McNulty said:

Suffice to say I am devastated that The Lowry has been dropped from the Autumn season next year.

 

 

Oh God. Me too!!!

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I'm confused: Swan Lake has "January to May" against it, but the listings only take it up to April 4th. If the former is wrong, it leaves a gaping hole in the season: should we expect a further announcement?

 

I'm also disappointed about Bristol apparently being dropped, and can't understand the continued emphasis on modern ballets in the mixed bills. Will be good to see the SPW Swan Lake, though!

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Although it doesn't affect me personally it seems a shame they seem to be dropping venues where they will have built up a loyal following  you don't want to start depleting your audiences!

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I wonder whether these two and three day flying visits are what is required to retain the company's current audiences and are sufficient to attract and build a new one? They do not seem to give much opportunity for the dancers' personal career development. Acosta's repertory selections certainly do not seem to respect the company's history and its artistic traditions as the works chosen from the company's "heritage " repertory are the safe, standard works which any ballet company has to perform at regular intervals if it is to be taken seriously as a classical company. They are all three pretty much guaranteed to sell themselves. As far as the Acosta Don Q is concerned I hope that he recognises the need to revise it. It will be interesting to see whether Acosta's appointment and more particularly the repertory announced for the 2019-20 season leads to changes in the company's personnel. I am prepared to give Acosta the benefit of the doubt for his first season but it looks very much as if BRB's reputation as the custodian of a considerable number of major works of historical and artistic importance is about to come to an abrupt end. It will be interesting to see if Acosta's name is sufficient to sell tickets for his own production and his new repertory. It will be even more interesting to see just how long his honeymoon period with the press and the Board will last.

Edited by FLOSS
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The press release seems to suggest that Acosta won't be taking over until next June, so it seems unlikely he had a lot to do with the planning of the 2019/20 season.

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2 hours ago, jmhopton said:

Rather distressing to see the prevalence of modern ballet in the mixed bills. Up until now BRB have always performed some great mixed bills from Ashton, De Valois, Cranko, to name just 3 great choreographers. Sad if they're following the RB and ENB by concentrating on mainly modern triples.

Lyndsey Winship will be pleased. Out with the old, twee repertoire to make way for the next big thing.

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Well I suppose he doesn't take over till January 2020 so should be given the benefit of the doubt at the moment.

I would be pretty sure he wasn't instrumental in reducing venues for next season.....that must come from some other quarter to do with BRB. 

If Don Q is a new acquisition for BRB ....or his version of it is...then that's fair enough for his first season but agree with some that it should be seen in more places than Birmingham! 

Probably not best to judge things where the Rep is concerned just yet! 

 

 

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I like the sound of the rep - DonQ!!  However I am hoping (being glass half full here) that it is maybe just too early to say for definite that the other theatres have been dropped maybe it's too far ahead for them to be booked so they just haven't included them to avoid disappointment at this early stage?  Fingers x'd for DonQ in Manchester!  Would the Arts Council have something to say on the range of theatres? I'm not keen on the Birmingham Hippodrome as their booking fees are HORRENDOUS which puts me off going there!

Edited by Don Q Fan
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7 minutes ago, Don Q Fan said:

I'm not keen on the Birmingham Hippodrome as their booking fees are HORRENDOUS which puts me off going there!

 

No doubt I'm spoilt, but I find the ticket prices high as well, at least at my (bargain basement) end of the spectrum.

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I didn't realised that the BRB toured to the Bristol Hippodrome. I thought it was one of ENB's tour stops. I'm now wondering if the Romeo & Juliet I saw there in 2006, which I thought was ENB, was actually BRB.

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I speak with no great knowledge but this does rather look to me like a cost-saving programme- BRB  have suffered bad cuts have they not? and the year must have been put together with a very careful eye on cost. No more new large scale works.

It does seem a bit thin and it is such a great shame that the tour is getting smaller- but in these days not really surprising. Alas.

 

That said, I was very saddened last year to lose companies like Ballet Black and English Touring Opera from Cambridge..then lo and behold they have re appeared. So, it might not be forever.

 

 

 

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44 minutes ago, Mary said:

That said, I was very saddened last year to lose companies like Ballet Black and English Touring Opera from Cambridge..then lo and behold they have re appeared. So, it might not be forever.

 

ETO has never been lost from Cambridge. The spring tour has been at the Arts Theatre every year. It's only the autumn tour that has moved from West Road to Saffron Hall. Given the very limited backstage facilities at West Road I can understand why they chose to move. (Sorry, veering off-topic here.)

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Disappointing in so many ways - except for the collaboration with Ballet Black.

One wonders how the dancers feel about that rep. overall.....................

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I've just noticed that the June 2020 mixed programme is only listed for Sadler's Wells.  With only 4 separate programmes listed for Birmingham (I don't include Nutcracker in this because that has not been part of the subscription tickets for some years now) I worry that subscription seasons will fall by the wayside?  After initial teething troubles (which happened only in the year the current system started) the current system of guaranteeing your seats if you do the same subscription package the following year has worked extremely well.

 

Although midscale is mentioned in the body of the PR there are no details for that at all.  The description of midscale has been subtly altered to say that it is family friendly.

 

In respect of Plymouth - the performances of Giselle in the Autumn end on the Friday and Peter and the Wolf is showing for the Saturday.  That is one component of midscale this Spring so I don't know how that will work.

 

It does make you wonder just how complete the listings are.  It's not unknown for extra dates to suddenly appear.

 

 

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Mulling it over- I can't help wondering if it really is such a great idea to put on Acosta's Don Q considering RB are doing it this summer..and then we have the Bolshoi bringing their Don Q later in the summer as well and we'll have had live screenings of both. Yes it's nearly a year but many ballet goers -hard pressed in their pockets these days- do try to vary what they see over long periods of time, after all.

It strikes me the modern mixed bills are trying to look more like ENB. But, the whole point about BRB was always its own- very precious - identity.

 

 

 

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2 minutes ago, Mary said:

It strikes me the modern mixed bills are trying to look more like ENB. But, the whole point about BRB was always its own- very precious - identity.

 

Exactly so  - and the dancers who help shape that identity, of course.

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43 minutes ago, Mary said:

Mulling it over- I can't help wondering if it really is such a great idea to put on Acosta's Don Q considering RB are doing it this summer..and then we have the Bolshoi bringing their Don Q later in the summer as well and we'll have had live screenings of both. Yes it's nearly a year but many ballet goers -hard pressed in their pockets these days- do try to vary what they see over long periods of time, after all.

It strikes me the modern mixed bills are trying to look more like ENB. But, the whole point about BRB was always its own- very precious - identity.

 

 

 

 

But Don Q is only being performed in Birmingham.  I know that London members do make the journey to Birmingham but this is surely aimed at the Midlands area where there would be little option for the public to see it otherwise.

 

BRB have had mixed programmes including new works for many years so they don't strike me as particularly peculiar.  Nine Sinatra Songs has been known and loved by BRB fans for a long time and it is exciting that BRB audiences will be able to enjoy the joys of Ballet Black too.  

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I only make that 7 venues out of the promised 11 - although it was difficult to quickly scan the PR (as usual - they often seem to be extremely verbose).

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1 hour ago, Jan McNulty said:

I've just noticed that the June 2020 mixed programme is only listed for Sadler's Wells.  With only 4 separate programmes listed for Birmingham (I don't include Nutcracker in this because that has not been part of the subscription tickets for some years now) I worry that subscription seasons will fall by the wayside?  After initial teething troubles (which happened only in the year the current system started) the current system of guaranteeing your seats if you do the same subscription package the following year has worked extremely well.

 

Hmm.  I'd actually been considering joining the Friends, but will wait and see whether there's much point.  Especially with Nutcracker not being included in the booking.

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16 hours ago, Jan McNulty said:

I'm VERY excited about the collaboration with Ballet Black though - The Suit is fab!

 

So I understand, and I'm looking forward to seeing it.  OTOH, part of me is going "that leaves rather less for BRB dancers to do" - I don't think the Sinatra piece uses that many of them, does it?

 

I never was a fan of the Bintley Giselle ...

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Some worries have been highlighted here and need addressing, but Acosta must be given time. I doubt whether we are yet seeing his real plans.

Don Q cannot physically be fitted into most of BRB's touring venues, I suspect, so I doubt whether this will remain in the BRB repertoire beyond this season and the the other one-off, the Acosta Festival.

The loss of Bristol and The Lowry does seem odd, especially as BRB was asked by the Arts Council to fill in at Bristol when ENB cut half of its performances there. I hope this is a temporary change, but I suppose the experience of playing to miserably low houses on tour takes its toll, not least financially. No mention of Nutcracker at the Royal Albert Hall either, which seems odd in the light of the enormous success the Company has had there. A real money-spinner too, which is needed.

I do not want BRB to be too much influenced by the preferences of Alistair Spalding, which are not very friendly to classicism.

But let's wait and see while still making our feelings known.

Let's also hope that Birmingham starts funding its Arts organisations properly with the arrival of Acosta, and let us also hope that the Arts Council stops interfering constantly in BRB plans.

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1 hour ago, alison said:

I only make that 7 venues out of the promised 11 - although it was difficult to quickly scan the PR (as usual - they often seem to be extremely verbose).

 

The midscale venues (and dates) weren't announced so that would probably take care of 4 out of the missing 5.  The other one could be Bristol or Cardiff...

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Apologies all round for failing to see that The Lowry is in the schedule. But only for Swan Lake. Is Giselle too cutting edge for Manchester?

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