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Wings, wigs and wonder: backstage at Birmingham Royal Ballet – photo essay

Behind the painted curtains of BRB’s The Sleeping Beauty lies a universe teeming with whimsy, dedication and a dash of eccentricity

Birmingham Royal Ballet: The Sleeping Beauty

It's 40 years since Sir Peter Wright's production of The Sleeping Beauty for the Birmingham Royal Ballet first appeared. Faithful to the original Petipa choreography, he was influenced, too, by later productions – Diaghilev's Ballets Russes version, for instance, and Nikolai Sergeiev's staging for the Vic-Wells (later Royal) Ballet. So, BRB's current production at Sadler's Wells offers a pedigree that goes back to the very heart of Russian classical ballet – and all of the demands that go with that. To say that Sleeping Beauty is a challenge for any company is putting it mildly. There are numerous starring roles and set pieces, solos and pas de deux, and for BRB – a company that is on truly top form – this became an opportunity for pure on-stage bravura. Enrique Bejarano Vidal and Beatrice Parma pulled out all the stops as the Bluebird and the Enchanted Princess (characters from Russian fairy tale). The Puss-in-Boots and the White Cat pas de deux

UK Tour of The Sleeping Beauty by Birmingham Royal Ballet heads to the midlands UK Tour of The Sleeping Beauty by Birmingham Royal Ballet heads to the midlands

The Sleeping Beauty awakes in London, Plymouth, Birmingham, Bristol, Salford and Sunderland. Following a sell-out success with one of the most talked about theatrical events of 2023 with Black Sabbath - The Ballet, Birmingham Royal Ballet has returned to the stage with one of the Company's most beloved classics, Sir Peter Wright's sumptuous staging of

A cracking start to the festive season as The Nutcracker takes to the Birmingham Hippodrome

A cracking start to the festive season as The Nutcracker takes to the Birmingham Hippodrome
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Patronising to the people of Peterborough: BRB2 s Carlos Acosta Classical Selections reviewed

Fulfilling its sacred duty to serve regions that higher culture tends to avoid, Birmingham Royal Ballet made a midweek visit to the troubled city of Peterborough. Its New Theatre holds about 1,200 and is normally focused on tribute bands and stand-ups; I would guess that for Carlos Acosta’s Classical Selection only about 60 per cent

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