Review: INTERNATIONAL DRAFT WORKS 2026, Royal Ballet And Opera - Linbury Theatre

The Linbury Theatre at the Royal Ballet and Opera felt transformed last night for the opening of International Draft Works 2026 - but not always by the choreography.

All nine works shown were lit by the same Lighting Designer: Joshie Harriette. And I'm not sure whether the RBO have updated the Linbury's tech capability or if the bare stage setting was the reason - but the lighting felt more fresh and original than it has in a very long time. Intriguing.

Choreographic platforms are vital. Makers need space to experiment, and the genre needs new, necessary work in order to continue. Depending on which genre you're talking about, only one of the nine pieces scheduled used pointe shoes. Not very good innings.

The first half had five works and two spoke to me. Houndstooth was presented by the Royal Danish Ballet and choreographed by Carling Talcott-Steenstra. A colleague in Copenhagen made me aware that all three dancers are over 40, and knowing this I watched the piece differently. Talcott-Steenstra has created a potent atmosphere, one of a dense narrative flavour using gesture to discuss philosophical ideas about being. It's not exclusively original in style but the experienced performances make it worthwhile. Specifically Esther Lee Wilkinson, who emotes like movie actors only dream of.

Closing the first section was À perte de vue et au-delà (Beyond what the eye can see) by the Paris Opera Ballet, choreographed by Maxime Thomas. The work is a duo for Thomas and paraplegic dancer Gladys Foggea which uses the Guadeloupean writer Maryse Condé as its inspiration. Condé's body of work looked at many profound matters and Thomas has managed to distill this hugeness and transfer it into the movement. I prefer to know about what I'm seeing, but À perte de vue et au-delà is one of those rare works that stands alone. Two subtly powerful dancers connecting and expressing through movement. It felt compelling and authentic and was an honour to observe.

The second half started very strongly with Gush presented by The National Ballet of Canada, choreographed by Alyssa Martin. Martin doesn't have a ballet background yet her fresh take on female movement understands the sheer power female ballet dancers inhabit. The work celebrates female power, but not as an agenda but rather a reality - and that feels both refreshing and genuine. The language is athletic, absurd and comic all at once and allows the two dancers to be totally in charge of their bodies and the space they occupy. Brilliant music by Meredith Monk is the icing on the cake, and we should all be envious of what Martin will develop over in Toronto. I know I am.

Completing the evening was un:discovered by the Norwegian National Ballet, choreographed by Douwe Dekkers. Initially I was unconvinced as the aesthetic was very ‘generic contemporary dance’ but pretty soon I was hooked. Practically speaking Dekkers creates puzzle-like partnering that covers space in a very engaging manner and movement that uses jumping to its strength, but it was the cerebral aspect that made the biggest impact. Dekkers wanted to discuss “the quiet tension between possibility and the present” and he succeeded. How? Personally I felt way beyond what I saw, leaning into the possibility of the unknown enabled through broad movement and focused performances. Specifically by Nell Ramstad-Pedersen - who moved with intention and eye focus that felt from another realm. 

The works I haven't discussed were all performed to a high standard but felt weaker choreographically speaking. It can be difficult when presenting excerpts or very short pieces, as the makers/dancers/observers have limited time to engage, but equally choreographic labs allow for research and development opportunities. Here's hoping the above four choreographers keep getting commissions and rising to the challenges presented. The dance world needs makers - but I'd argue the niche ballet world needs them even more…

International Draft Works continues at the Royal Ballet And Opera, Linbury Theatre until 14 April 2027