Review: A CENTENARY CELEBRATION, Royal Ballet & Opera

The Royal Ballet season opens on the main stage with a special programme: A Centenary Celebration. 100 years ago Ninette de Valois founded The Academy of Choreographic Art, and the rest is history. What followed was The Royal Ballet School and two companies. So sitting in the Royal Ballet and Opera in 2026 watching a performance that includes the RBS, Royal Ballet and Birmingham Royal Ballet is indeed an experience to behold.

During the programme quotes are shared from various alumni, and the phrase “Madam's vision” stuck with me. I believe de Valois would be happy with the balance of the repertoire - heritage works and new, contemporary pieces - but I wonder if she'd have issues concerning the impact of the evening as a whole. It includes some great dancing and brilliant choreography, but somehow my soul didn't soar. I was quietly dreading Act III Swan Lake, yet this was perhaps the best moment of artistry from Fumi Kaneko and Vadim Muntagirov, both dancing with exceptional clarity and panache.

The evening opened with de Valois's Checkmate. It was a Suite rather than the whole work, but seeing Reece Clarke in the Red Knight solo is a reminder of de Valois's choreographic brilliance. How ingenious to base the solo on a Mazurka (thanks to Arthur Bliss) and pas de basque foundation. This creates simple, stylish, grounded choreography and it's a joy. Mayara Magri is brilliant casting for the Black Queen but her current interpretation lacks something. Either more characterisation or dynamic is needed in the moment.

Next followed Ashton’s Birthday Offering. Another lesson in brilliant, distinctive choreography. The ballet was created in 1956, and I wonder if 2026 technical values get in the way. Ashton created movement and the current trend is pictorial focused. Often I wished the dancers would worry less about how something looked and just get stuck in. Overall the BRB women felt more gutsy, but it's interesting to see Marianela Nuñez out of her comfort zone. Nuñez can do anything, yet Ashton’s choreography seems to make her need extra focus and concentration. Patricio Revé was a stunning male lead, such ease and generosity in his movement.

The second half had a mix of works. A Wheeldon premiere was textbook Wheeldon. Minor key, understated tension and classicism allowed Lauren Cuthbertson to soar, expertly partnered by Lukas B. Brændsrød. A duo by Cathy Marston saw further exploration of her previous work Against the Tide.

BRB performed the Farewell pas de deux from Kenneth MacMillan’s Winter Dreams. It was acceptable but lacked the physical drama of the original cast. Nimbus by Wayne McGregor showed the direction of his early work, and the section concluded with Unforgettable by Joshua Junker. This new work featured music by Elvis Presley and younger dancers of the company. The language is yet to find an original identity, however the execution of it can't be questioned.

The third section opened with a scene from David Bintley's ‘Still Life’ at the Penguin Cafe. I grew up watching the 1988 filming of the ballet, so that cast is etched on my mind. Yasiel Hodelín Bello did an admirable job as the Southern Cape Zebra, but isn't a patch on the original Phillip Broomhead. More coaching needed.

Next followed Danse Russe with Steven McRae and Sarah Lamb. Taken from McRae's recent Linbury show, the pas de deux works better in this standalone scenario, and it's always a treat to see Lamb's crystalline work in a tutu.

Following was a revisit to MacMillan with Francesca Hayward and Marcelino Sambé in the Bedroom pas de deux from Manon. It can be difficult to isolate dramatic duos from the complete work, but Hayward and Sambé are a handsome pairing full of passion and connection.

Closing the evening was a new work, Centenary by Valentino Zucchetti. The piece includes the RBS, BRB and RB…and I saw the number 300 somewhere on social media. Regardless, Zucchetti should be applauded for creating something on this scale with a sense of organisation! The Paris Opera do a Défilé for such occasions - largely walking and bowing, the Bolshoi class ballet - a development of classroom steps from plié to unfathomable bravado

Centenary lives somewhere between the two which is both its strength and weakness. The Massenet feels too heavy at the beginning, but as the tempo increases so do the vibes. Large, white tutu works will always be compared to Balanchine's Symphony in C, and Mr Balanchine has nothing to worry about. That said I enjoyed the work of the Principal dancers which included some original lifts using the men's shoulders as tasteful platforms. This I'd like to see again for further analysis.

At the performance conclusion the Faculty of the RBS came on to take a bow, as did the artistic teams of both companies - including many, famous faces. Gold confetti was released from the ceiling during the generous applause, and one hopes de Valois is proud of her achievements wherever she may be. 

A Centenary Celebration continues at the Royal Ballet & Opera until 10 October 

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