The New Year’s honours list included several awards for services to dance.
Birmingham Royal Ballet has announced plans for the new season at the Birmingham Hippodrome, including a recreation of Robert Helpmann’s Miracle in the Gorbals and artistic director David Bintley’s new one-act ballet, The King Dances.
Victoria Marr, first soloist with Birmingham Royal Ballet, will be dancing her very last performance with the company, as Myrtha, Queen of the Wilis in Giselle, at Birmingham Hippodrome in June.
Birmingham Hippodrome is hosting a live broadcast of an open rehearsal by Les Ballets Trockadero de Monte Carlo on Friday, February 1. From 4.15pm onwards the theatre will broadcast a live video feed from one of the boxes in the auditorium as “The Trocks” – as they are affectionately known – take to the stage […]
DanceXchange has announced a season of special performances to celebrate its ten years based at Birmingham Hippodrome. The birthday season will include a UK premiere from Chinese company TAO Dance Theatre (pictured) and the world premiere of Aakash Odedra’s new work, Rising.
Burn The Floor, Jason Gilkison’s electrifying Latin and ballroom dance spectacular, has thrilled audiences all over the world and introduced some of our most popular “Strictly” professionals – Artem Chigvintsev (pictured), Natalie Lowe and Robin Windsor – to their public.
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.
Birmingham Hippodrome has donated a prize of a child’s walk-on part in the UK’s biggest pantomime to this year’s Big Give Christmas auction.
Published by Oberon Books, Birmingham Royal Ballet is a sumptuous coffee table book, celebrating the company’s 20 years in Birmingham with over 300 photographs by Bill Cooper and an introduction by dance critic Judith Flanders.
With its backdrop of graffiti-covered walls, the convincingly grubby-looking set is littered with the detritus of urban life: a traffic cone, a shopping trolley, a decrepit sofa. So far, so predictable. But the stereotype works precisely because it is a stereotype, and that is the crux of this captivating piece of dance theatre.