Review: THE ROYAL BALLET SCHOOL SUMMER PERFORMANCE, Royal Ballet And Opera
A centenary to be proud of
The Royal Ballet School annual Royal Opera House matinee is a big deal, but perhaps this year more than ever. 2026 marks the centenary of the school, and considering this when watching, the performance amplifies what we see on the stage even more than usual.
Iain Mackay, finishing his second year as Artistic Director has curated a programme that acknowledges the past whilst moving forwards with the same consideration and reverence. I'm sure as a parent a three hour theatre sojourn is no big deal - too short even! Personally I found it a little on the long side.
The founder of the school, Ninette de Valois offered the best choreography in my opinion. The Checkmate suite was everything you'd wish for in relation to stylised movement. Her idiosyncratic language, one that's bound in manner, endlessly chic and primarily en face, also inhabits a darker world that's never made obvious yet is always there. I wish we could've seen the complete work.
Opening the performance was Act III from Peter Wright's Swan Lake. It's an overall dark visual and the opening section has many false starts/introductions. I don't know the version well, but absolutely loved the choreography for the three Princesses. Ingenious and as fresh as ever. Elsewhere matters were predictable and of a high standard. The lead roles of Odile and Prince Siegfried require maturity in relation to characterisation, yet considering this the four graduate students who shared the roles did consummate work. Technical accomplishment was there in spades.
Mackay had commissioned four new works for the performance, and all of them had value. Kristen McNally's Proceedings was a fine example of people management and the combination of over excited insects and palatable ritual suits the three youngest years at White Lodge.
Photo Credit: ASH
David Bintley's Beauchamp's Garden with music by Francis Poulenc is a rich work that should be seen again. Perhaps in company repertoires also. Bintley said he wanted to study the music and the French school (of ballet), and this he did no end. I love his use of alignment and the richness he invokes in adagio phrasing. There is so much in this work that needs further viewing and analysing. It's abundant to say the least.
A Line in Reflection by Cathy Marston is an intelligent work that focuses on the philosophical nature of dance above anything else. The journey; with the artform, with the self and the ever present, pressing time aspect. Any excuse to see Deborah Bull back on the mainstage is worthwhile, and for anyone who has been a dancer, the emotional underpinning of this work is powerful and raw.
Of Strength & Grace by Andrew McNicol is a work that shows the impressive maturity of the two oldest years at the Lower School. With a caramel palette, subtle tulle and dramatic phrasing I was both intrigued and surprised. This piece has quiet power and includes lots of movement that could be developed elsewhere.
I was equally impressed by The First Voice by Jessica Lang. This was the contemporary component of the programme and the 2nd year Upper School students did it justice. Lang flitted between literal movement to words and something more opaque, but the dialogue between athleticism and poetic movement works well.
This was my second viewing of Christopher Wheeldon's Christening Suite which I wrote about here, but I'd say it gets better rather than weaker. The performance closed with a rousing Grand Défilé which was both exciting and emotionally overwhelming, and when the lights turned off the house went nuts! And rightly so.
The school is very proud of the fact that 100% of their graduates have received contracts, and so they should be. However, I'm surprised that, in my opinion, the most interesting dancer; Nanoha Shigeoka is leaving London for the Hungarian National Ballet. This is of course a very good job, but Shigeoka seems the epitome of a future Royal Ballet star. Quick, articulate, soubrette, she could probably do Lise in La Fille mal gardée yesterday…but off she goes! Who knows - maybe she'll do an Alina Cojocaru and be back before we know it. Here's hoping!
Mackay did a frontcloth speech during the performance and his passion and authenticity filled the auditorium. Anyone who knows him knows he's the right man for the job…but it's still wild to think he's the ickle Iain I knew when he was a student himself at the Upper School. But his story is the larger purpose of the school in a nutshell. A normal young boy, with talent and desire found a place that allowed him to follow his dreams and he's now doing the same for all of the present day students. Bravo de Valois - because it's all down to you Madam.
The Royal Ballet School Summer Performance took place at the Royal Ballet And Opera on 18 July
Main Photo Credit: Grand Défilé © The Royal Ballet School. Photographed by ASH
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