Review: MADAM, Royal Ballet & Opera

When you have Monica Mason, Antoinette Sibley and Anya Sainsbury all saying how much they revered and respected a person, it's 99.9% chance the individual in question is Ninette de Valois. De Valois is responsible for British ballet as we know it. She started The Royal Ballet School (or a version of it) in 1926, and from this two companies; the Royal Ballet and Birmingham Royal Ballet respectively.

2026 is the centenary of the school, so many performances are geared towards this fact. Principal Guest Artist Lauren Cuthbertson and Artistic Director Kevin O'Hare have curated a brilliant, and fitting programme celebrating de Valois and her accolade of achievements titled Madam.

This is how de Valois was referred to in the hallowed ballet hallways of the world, and it's clear she was an impressive woman who made an impression.The programme celebrates choreography, including candid (recorded) conversation, and this is relevant, because without it, what would dancers do?! De Valois's early career included exposure to the 20th century's greatest dancemakers, and this is never more evident than in a section of the evening called ‘Six solos by Madam’.

The whole event is overwhelming, for the right reasons, but seeing six of de Valois's diverse works side by side was a genius move. In turn it showed her genius, her capability of creating original work infused with style and purpose. Could other choreographers show such range in six solos? Of course, but not many, and probably most of them historic makers rather than present day.

The solos show all the traits of British Ballet, both technically and artistically. Fast footwork, terre à terre emphasis, characterisation, poetic phrasing and music cohesion. All six works were stunningly performed and included pieces from de Valois's most well-known works Job, Checkmate and The Rake's Progress.

Elsewhere we had new work performed by the school and company, and heritage pieces danced by the company's current stars. The programming acknowledged de Valois's protégés in the form of Frederick Ashton and Kenneth MacMillan, as well as the current generation's makers Christopher Wheeldon and Wayne McGregor.

Seeing Yasmin Naghdi and Ryoichi Hirano dance MacMillan’s central pas de deux from Concerto was a highlight, reiterating his unmatched talent, as was Lauren Cuthbertson and Lukas B. Brændsrød in Wheeldon’s new work Beautiful Shadow. Even when working classically Wheeldon has this modern edge; minor chord and jazz vibes, which sets his cool classicism apart.

I'm sure Madam was watching from ballet heaven and I'm sure she is pleased. The standard of dancing can't be questioned. And these aren't only brilliant, physical technicians, these are consummate artists - thinking dancers. 

My only regret about the whole situation is that de Valois stopped choreographing in order to make room for others. I know as a visionary she had to make this decision - but as an audience member it makes me sad. Such was her originality and modernity one can't help but wonder where else it could've gone. Anyways - let's focus on the present as she always advocated and let's watch from ballet heaven who they're celebrating in 2126!

Madam was performed at the Royal Ballet and Opera Linbury Theatre on 3-4 November.

Photo Credits: Camilla Nervi