Get our free email newsletter with just one click

An Evening of British Ballet review at The Orchard Dartford

by -

In what can be called a surprise visit to The Orchard Theatre, members of The Royal Ballet perform eight varied pieces from its repertoire. With works ranging from Puirt-a-Beul by William Tuckett to Ashley Page’s Larina Waltz, Pas De Dix and the Second Movement Pas De Deux from Christopher Wheeldon’s Tryst, it was hard to see how the evening could fail.

Add to this a complete performance of Sir Frederick Ashton’s Symphonic Variations with the immaculate Alina Cojocaru and charismatic Johan Kobborg and you have a showcase that not only demonstrates the quiet strength of British choreography but also the precision of The Royal Ballet dancers.

Another highlight is the performance of David Bintley’s The Dance House, Second Movement Pas De Trois. Inspired by the death, at a young age, of a close friend who was a dancer, this work is sensitively performed by the very accomplished trio, Lauren Cuthbertson, Johannes Stepanek and Ricardo Cervera.

The evening would not have been complete without the work of Kenneth MacMillan and in this case it is the Second Movement from Concerto. A lyrical pas de deux with music from Dmitri Shostakovich, the piece is danced with graceful power by Christina Elida Salerno and Martin Harvey.

In contrast to MacMillan’s elegance is Wayne McGregor’s scientific, jaunty and sensory pas de deux from his ballet Qualia, created for The Royal Ballet earlier this season.

Amongst other things, this evening is a fascinating way of charting just how far British ballet has evolved over the years.

Production Information

The Orchard, Dartford, July 28-29

Artistic Director
Bruce Sansom
Cast includes
Alina Cojocaru, Johan Kobborg, Lauren Cuthbertson, Johannes Stepanek, Ricardo Cervera
Running time

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price