Posted on March 23, 2011
Birmingham Royal Ballet has announced next season’s performances at Birmingham Hippodrome, the company’s home theatre. It’s an excitingly varied programme, including a world premiere by artistic director David Bintley and a rich selection of Ashton works.
The season opens with a revival of Bintley’s Beauty and the Beast from September 28–October 2. From October 6–8, the company dance Autumn Glory, with three iconic British works: Ninette de Valois’ Checkmate, Frederick Ashton’s serene Symphonic Variations and John Cranko’s comedy Pineapple Poll.
The company’s much-loved production of The Nutcracker returns for Christmas, from November 25–December 11. Hobson’s Choice, one of Bintley’s most popular ballets, comes back to the repertory from February 22–25.
Spring Passions is a tempting double bill of Ashton’s Daphnis and Chloë, with its ravishing Ravel score, and the sweet romance of The Two Pigeons. There are six performances, from February 29–March 3. In the summer, the company revive Far from the Madding Crowd, Bintley’s adaptation of Hardy’s novel. It runs from June 20–23.
The season ends with Summer Celebration, from June 27–30. This festive triple bill opens with Joe Layton’s The Grand Tour, a Roaring Twenties ballet that puts an American spinster on an ocean liner with celebrities of the period, including Noël Coward, Gertrude Stein and George Bernard Shaw. The music is by Noël Coward. The Grand Tour is followed by Faster, Higher, Stronger, a world premiere by David Bintley. Like his award-winning E=mc2, this is a collaboration with Australian composer Matthew Hindson. Stressing the company’s speed, power and athleticism, it marks the run-up to the 2012 Olympic Games. The evening concludes with The Dream, Ashton’s comic, romantic version of Shakespeare’s A Midsummer Night’s Dream.
Tickets are now on sale, with season ticket packages available. See www.birminghamhippodrome.com or call the box office on 0844 338 5000 for details.
Picture: Birmingham Royal Ballet in Daphnis and Chloë. Photograph: Bill Cooper.