Ballet lovers driven square-eyed by a drip feed of livestreaming and archive footage have been pining for the patter of tiny satin feet. Last month the UK’s big ballet companies began to emerge from hibernation, playing small-scale work to thin, socially distanced houses. Some, such as Birmingham Royal and English National ballets, took the opportunity to broaden their audience’s conservative tastes with otherwise tricky-to-shift programmes of new work. Others, like the Royal and Northern ballets, offered choreographic comfort food.
After testing the waters with last month’s Back on Stage gala, danced before an audience of 400 dance students and health workers, the Royal Ballet began its autumn season with two programmes selected from its vast back catalogue. Sadly, thanks to the new lockdown, its first night was also its last.
The one-off mixed bill was a generous blend of the two planned programmes, devised to give maximum value for ticket holders and maximum stage time for stars and soloists.
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