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 of its seats had been sold or distributed, and predominantly to a white and female audience. Their response was moderately enthusiastic. Arts Council England’s embattled chief executive Darren Henley was in attendance; I wonder what lessons he drew from the performance.

I didn’t feel it quite hit the spot. This is no reflection on Birmingham Royal Ballet’s management, which surely does all it can under intense budgetary restrictions, but there was a sense that Peterborough was being short-changed with something cheap and cheerful. Junior company dancers and apprentices being given solo opportunities that they wouldn’t get in more prestigious venues; no scenery, rudimentary lighting and recorded music – this wasn’t quite the real thing.