Director Carlos Acosta
Romeo and Juliet Carlos Curates: R&J Reimagined
BIRMINGHAM ROYAL BALLET ROYAL BALLET SINFONIA Patron Her Majesty the Queen President HRH The Prince of Wales Vice-President The Lady Sarah Chatto
Director Carlos Acosta cbe Chief Executive Officer Caroline Miller obe
Founded by Dame Ninette de Valois om, ch
Prima Ballerina Assoluta Dame Margot Fonteyn
Founder Choreographer Sir Frederick Ashton om, ch, cbe
Director Laureate Sir Peter Wright cbe
Founder Music Director Constant Lambert
Music Director Laureate Barry Wordsworth
Music Director Koen Kessels
WELCOME It is very exciting to be returning to our home theatre, Birmingham Hippodrome and our long-standing partner venue, Theatre Royal Plymouth.
Carlos Acosta. © Johan Persson
CONTENT Kenneth MacMillan’s
Romeo and Juliet 1 – 12 For a castsheet visit brb.org.uk/romeo Carlos Curates: R&J Reimagined Rosie Kay Dance Company Romeo + Juliet 16 – 21 Edward Clug’s
Radio and Juliet 22 – 25 For a castsheet visit brb.org.uk/carlos-curates
I’m thrilled that our ‘homecoming’ season will be celebrated with a favourite ballet of mine – Sir Kenneth MacMillan’s powerfully dramatic Romeo and Juliet. I am really looking forward to seeing all the dancers new to the iconic title roles, accompanied as ever by our magnificent Royal Ballet Sinfonia. The universal themes of Romeo and Juliet are explored in Carlos Curates: R&J Reimagined. I’m delighted that our talented dancers will be sharing the stage with the wonderful, Birminghambased Rosie Kay Dance Company. We also present the Company premiere of Edward Clug’s edgy Radio and Juliet, to music by Radiohead.
Wells in early November with Curated by Carlos, a sublime triple bill of contemporary ballet. The star Italian ballerina, Alessandra Ferri, makes her debut with Birmingham Royal Ballet in a new pas de deux created especially for Alessandra and me by Goyo Montero for his ballet Chacona - I cannot wait! We end the year with performances, in both Birmingham and London, of the Christmas essential, The Nutcracker! As ever, a heartfelt thanks to each and every one of our supporters. A special thank you must go to the Garfield Weston Foundation, Aud Jebsen, the Michael Bishop Foundation and Oak Foundation for their extraordinarily support in 2021. We are also delighted to welcome HSBC UK as Principal Sponsor of Birmingham Royal Ballet across 2021/22. We are extremely grateful for this support. I hope you enjoy the performance
Looking ahead, we have a packed schedule of live performances to look forward to. We return to Sadler’s
Cover image: Céline Gittens and Brandon Lawrence. © Richard Battye
Momoko Hirata as Juliet and César Morales as Romeo. © Bill Cooper.
Romeo and Juliet Music Sergei Prokofiev (by kind permission of Boosey & Hawkes Music Publishers Ltd) Choreography Kenneth MacMillan Designs Paul Andrews
World premiere of MacMillan’s first production: 9 February 1965, The Royal Ballet, Covent Garden. First performance of this production: 1 June 1992, Birmingham Royal Ballet, Birmingham Hippodrome, conducted by Barry Wordsworth
Lighting John B. Read Accompanied by the Royal Ballet Sinfonia
For biographies of the creative team visit brb.org.uk/romeo
THE STORY The ballet is set in Verona Act I Scene 1: The market place Romeo, son of Montague, tries unsuccessfully to declare his love for Rosaline and is consoled by his friends Mercutio and Benvolio. As day breaks and the townspeople meet in the market place, a quarrel develops between Tybalt, a nephew of Capulet, and Romeo and his friends. The Capulets and Montagues are sworn enemies and a fight soon begins. The Lords Montague and Capulet join in the fray, which is stopped by the appearance of the Prince of Verona, who commands the families to end their feud. Scene 2: Juliet’s ante-room in the Capulets’ house Juliet, playing with her nurse, is interrupted by her parents, Lord and Lady Capulet. They present her to Paris, a wealthy young nobleman who has asked for her hand in marriage. Scene 3: Outside the Capulets’ house Guests arrive for a ball at the Capulets’ house. Romeo, Mercutio and Benvolio, disguised in masks, decide to go in pursuit of Rosaline. Scene 4: The ballroom Romeo and his friends arrive at the height of the festivities. The guests watch Juliet dance. Mercutio, seeing that Romeo is entranced by her, dances to distract attention from him. Tybalt recognises Romeo and orders him to leave, but Capulet intervenes and welcomes him as a guest in his house. Scene 5: Outside the Capulets’ house As the guests leave the ball Capulet restrains Tybalt from pursuing Romeo. Scene 6: Juliet’s balcony Unable to sleep, Juliet comes out on to her balcony and is thinking of Romeo, when suddenly he appears in the garden. They confess their love for each other.
Nao Sakuma as Juliet. © Bill Cooper.
Scene 1: The market place
Scene 1: The bedroom
Romeo can think only of Juliet, and, as a wedding procession
At dawn next morning the household is stirring and Romeo
passes, he dreams of the day when he will marry her. In the
must go. He embraces Juliet and leaves as her parents enter
meantime Juliet’s nurse pushes her way through the crowds
with Paris. Juliet refuses to marry Paris and, hurt by her
in search of Romeo to give him a letter from Juliet. He reads
rebuff, he leaves. Juliet’s parents are angry and threaten to
that Juliet has consented to be his wife.
disown her. Juliet rushes to see Friar Laurence.
Scene 2: The chapel
Scene 2: The chapel
The lovers are secretly married by Friar Laurence, who hopes
Juliet falls at the Friar’s feet and begs for his help. He gives
that their union will end the strife between the Montagues
her a phial of sleeping potion which will make her fall into
a deathlike sleep. Her parents, believing her to be dead, will bury her in the family tomb. Meanwhile Romeo, warned by
Scene 3: The market place
Friar Laurence, will return under cover of darkness and take
Interrupting the revelry, Tybalt fights with Mercutio and kills
her away from Verona.
him. Romeo avenges the death of his friend and is exiled. Scene 3: The bedroom That evening Juliet agrees to marry Paris; but next morning when her parents arrive with him they find her apparently lifeless on the bed. Scene 4: The Capulet family crypt Romeo, who has not received the Friar’s message, returns to Verona stunned by grief at the news of Juliet’s death. Disguised as a monk he enters the crypt, and finding Paris by Juliet’s body, kills him. Believing Juliet to be dead, Romeo drinks a phial of poison. Juliet awakes and, finding Romeo dead, stabs herself. Kenneth MacMillan
© Bill Cooper.
For a castsheet visit brb.org.uk/romeo
Beatrice Parma rehearsing the role of Juliet with Mathias Dingman as Romeo (opposite coached by Marion Tait) . © Lachlan Monaghan.
INSIGHT: BEATRICE PARMA Soloist Beatrice Parma talks about dancing the role of Juliet for the first time
I’m so excited about my debut as Juliet
Emotionally, she has such a complex
I’ve tried to approach every rehearsal
and very grateful to have been given
journey that develops through the
with one thought: ‘how would I truly
the opportunity to dance such an iconic
react and feel if that happened in
my life?’ Although most things are In the space of three acts she goes from
obviously choreographed I felt it was
It has been my dream role since I was
being a young innocent girl to falling
extremely important in a ballet like
11 years old, after watching Alessandra
in love for the first time, being forced
Romeo and Juliet to be as natural and
Ferri perform the role at Teatro alla
by her family in accepting to marry
credible as possible; the moment a
Scala in Milan. As a young aspiring
someone she doesn’t love, the agony of
reaction, an expression or a gesture
professional ballet dancer I remember
feeling trapped to the point of faking
is too ‘theatrical’ it becomes not
it being a very special and touching
her own death to be with Romeo only to
believable. I love watching different
performance for me. Aside from
then seeing her plan fall apart resulting
casts and seeing each person bring
the importance of having a strong
into the death of the man she loves and
something different to the role with
technical foundation, from that show I
the total desperation that brings her to
their own interpretation.
understood how incredibly important it
take her own life.
was to be an artist, expressing yourself
And what better score to perform
on stage and giving full meaning to
That’s why I’ve always loved this ballet
alongside! The music is just incredible,
each movement. I felt like it really
so much. Not only are there some
it tells the story all the way through. I
changed the way I approached my
technically challenging and incredibly
absolutely love the death scene at the
everyday training and what I was
beautiful pas de deux, but it’s the
very end of the ballet, just the music
process of moulding into the story
alone can bring you to tears.
to truly become Juliet and the arc of Artistically, Juliet, it’s an extremely
emotions this ballet brings not only to
exposing ballet and I’ve always wanted
whoever is dancing it but the audience
to challenge myself in a dramatic role.
watching it too.
“I’ve tried to approach every rehearsal with one thought: ‘how would I truly react and feel if that happened in my life?’” For a biography of Beatrice visit brb.org.uk/dancers
THE PRODUCTION Jann Parry looks back to the creation of Kenneth MacMillan’s ballet.
Birmingham Royal Ballet first mounted its own production of Kenneth MacMillan’s Romeo and Juliet in 1992, overseen by the choreographer six months before he died. He made adaptations to accommodate new designs, ensuring a fresh approach to his 20thcentury classic. He had created Romeo and Juliet, his first three-act ballet, for The Royal Ballet early in 1965, soon after Shakespeare’s 400th anniversary. Ninette de Valois, The Royal Ballet’s founder director, had long wanted a big Shakespeare ballet for her company. So far, there had been one-act encapsulations of Shakespeare plays – Frederick Ashton’s The Dream and Robert Helpmann’s Hamlet. She hoped that Leonid Lavrovsky, who had choreographed the Bolshoi’s epic Romeo and Juliet in 1940 and brought it on early Bolshoi tours to London in the 1950s and 60s, would mount it for The Royal Ballet. Her hopes were in vain. Cold War cultural politics meant that the Soviet authorities were not going to let a Western company duplicate one of Russian ballet’s treasures. When tentative negotiations fell through, de Valois agreed with Ashton, her successor as director of The Royal Ballet, that Kenneth MacMillan should be given the chance to prove himself a major choreographer. He had seen Lavrovsky’s Romeo and Juliet performed by the Bolshoi, as well as John Cranko’s version for the Stuttgart Ballet, and was ambitious to do even better. He had already created a ‘balcony’ pas de deux for two young friends, Lynn Seymour and Christopher Gable, to perform on Canadian television during their summer break in 1964. When he was given the goahead for a full-length ballet, he and they feverishly discussed ideas of how to portray Shakespeare’s starcrossed lovers. MacMillan had been inspired by Franco Zeffirelli’s mould-breaking production of the play for the Old Vic in 1960. His hot-blooded youngsters (Judi Dench and John Stride) were impatient to consummate their passion as soon as possible, defying their elders. The play became a clash between generations as well as 6
Lachlan Monaghan as Mercutio, Yasuo Atsuji as Romeo, Edivaldo Souza da Silva as Benvolio and Marion Tait as the Nurse. © Caroline Holden.
a feud between two powerful clans.
the potion Friar Laurence gives her.
production, he wanted MacMillan’s
MacMillan’s ballet would establish the
Her coma and death are distressingly
version rather than any other
violent, patriarchal society in which
painful rather than pathetic.
choreographer’s. They agreed that
the lovers grew up, before narrowing
it should look distinctively different
the focus on their plight. There would
Although MacMillan devised these
from The Royal Ballet one designed by
be no reconciliation between the
effects with Seymour and Gable as his
warring families at the end.
Juliet and Romeo, the roles were danced at the premiere on 9 February 1965 by
In 1965, Georgiadis’s brief had been to
Prokofiev’s score dictates to a large
Margot Fonteyn and Rudolf Nureyev.
devise a setting to rival the Bolshoi’s
extent how the drama evolves.
They were the famous pair everyone
monumental decor. He provided a solid
MacMillan’s challenge was to find his
wanted to see and MacMillan was told
construction on two levels, linked by
own ways of developing each scene,
he had no choice over the casting. His
an impressive flight of stairs. Such an
avoiding, if he could, the effects that
new ballet was to tour to the USA and the
architectural structure was unusual
Lavrovsky and Cranko had achieved.
impresario Sol Hurok insisted that the
for ballet at the time, in place of
His lasting triumph has been the pas
opening night cast in London, as in New
painted canvas scenery. Georgiadis’s
de deux for the lovers: the ballroom
York, had to be Fonteyn and Nureyev.
sumptuous costumes were based on
encounter, the blissful balcony scene,
They guaranteed that the production
late-Renaissance paintings. His sets
Romeo’s reluctant departure after
was an immediate success in both
and costumes have altered several
their wedding night together, and
countries, though Seymour and Gable
times, but the general impression of
their final agonies.
were regarded by ballet lovers as the true
16th-century Verona remains the same.
interpreters of MacMillan’s intentions. He chose classical ballet steps and
MacMillan chose a young designer,
naturalistic gestures instead of
Over the 50-plus years since the
Paul Andrews, whose graduation work
mime to express the meaning behind
premiere, his Romeo and Juliet has
he had seen at Wimbledon School of
Shakespeare’s words, combined with
become the best known of many
Art’s exhibition. MacMillan regularly
a potent use of stillness. The lovers
versions of the ballet, performed by
visited London art schools’ end-
simply look at each other when they
companies around the world. When
of-year shows: it was how he found
first meet; Juliet sits on her bed to
Sir Peter Wright, then artistic director
Georgiadis, Yolande Sonnabend and
make her decision what to do next;
of Birmingham Royal Ballet, decided
Andy Klunder (who designed his
she can hardly bring herself to take
that the Company should have its own
Brandon Lawrence as Romeo and Yaoqian Shang as Juliet. © Lachlan Monaghan.
Above and right: Momoko Hirata as Juliet and César Morales as Romeo. © Bill Cooper.
Andrews’s brief was to set the ballet
Birmingham Royal Ballet’s dancers
earlier in the Italian Renaissance,
inhabit their own account of
when the paintings were simple in
Shakespeare’s imaginary Verona,
outline, the colours clear and the
giving their interpretations of
architecture in the classical style. It
MacMillan’s Capulets and Montagues.
Department, Harris Brothers, Cardiff Theatrical
was a big undertaking for a novice
Every Juliet has to make her own
Services, Mike Becket and Hazel Gash, Liz Reed
theatre designer. Andrews went on to
decisions; every Romeo falls in love
Assistance with original set design and model
have a substantial career, designing
differently. The pleasure for audiences
for operas, ballets, musicals and plays
is to understand the lovers’ emotions
before his premature death in 1997.
and dilemmas through movement and
head-dresses, jewellery, wigs: Royal Opera House
Some of his initial set designs proved
music without words, experiencing
and Birmingham Royal Ballet Production
impractical for a touring company. He
the essence of Shakespeare’s romantic
had retained the two-tier colonnade
tragedy in our own times.
that MacMillan’s choreography
Set construction: Royal Opera House Production Department, Harris Brothers Set painting: Royal Opera House Production
making: Alison Nalder Props: Royal Opera House Production Department Costumes, fabric-dyeing and printing, millinery,
departments Revival scene painting: Jon Goodwin Additional costumes: Birmingham Repertory Theatre, Debbie Boyd, Classic Cuts, June Callear,
required, but a frieze of statues
Jann Parry is the author of Different
decorating the top had to go: they
Drummer: the life of Kenneth
couldn’t be seen in full from the upper
MacMillan. She is a dance writer for
levels of theatres. The staircase in the
many publications and for the website
middle proved too steep, so a landing
was inserted; downstage columns
Tracy Caulfield, Globe Costumes, Jane Gill, Robert Gordon, Sarah Handley and Sue Long, Ba Higgins, Tricia Hopkins, Sasha Keir, Paul and Christine Manning, Debbie Marchant, Leslie McConkey and Susanne Parkinson, Claire Porter, Phil Reynolds, Sue Pearl and Pauline Lucas, Sue Smith, Caroline Thorpe, Beverley Vas, Wallace and MacMurray, Wear Moi, Nigel West, Charles White, Sharon
needed adjusting, as did some of the
Williams, Susanna Wilson, Ruth Woods
cast’s entrances and exits. The end
Additional dyeing and printing: Jamison Print,
result, however, is ravishing, much lighter than Georgiadis’s imposing
Parker Street, Sarah Andrews, Jane Clive, Mathilde Sandberg, Sheila White Additional millinery: Jenny Adey
vision of Verona. Andrews’s set has
Armour: Robert Allsopp
the advantage of a proper balcony for
Costume research: Joanna Freedman
Juliet’s love-struck musings, and a
Production Manager: Susan Usher
bedroom appropriate for a young girl.
For a biographies of the creative team visit brb.org.uk/romeo
Revival Costume Supervision: Birmingham Royal Ballet Costume Department
INSIGHT: LACHLAN MONAGHAN Soloist Lachlan Monaghan talks about dancing the role of Romeo for the first time
It is a dangerous cliché to say that Romeo became my dream role very early on in my career, but it’s true. Dancers mostly all have roles we aspire to do, and so, by its very nature as ‘the dream role’, Romeo comes with it many personal challenges. As emotional a journey as the story is, so too is the process of preparation for such a role – and how scary to take on surely one of the most romantic and famous stories to exist. Aside from the obvious elation of my surname appearing on the cast sheet and then the Cheshire Cat grin I wore as I clumsily attempted the Balcony pas de deux for that unforgettable first time, there comes with it myriad thoughts, not least, that wanting to perform your dream role to a high personal standard means lots of internal pressure. I discovered very quickly that every step is much more difficult than I thought. Although having watched the ballet many times, I had never tried any of Romeo’s steps or partnering and they prove quite the physical challenge. The difficult thing is that it just doesn’t read to make it look like hard work. While fiendishly difficult, the choreography must appear to have impulsively poured out of your soul with pure emotion guiding every step or gesture. The beautiful thing though, and that which I think makes it unique, is that beyond the steps, a true, honest, authenticity is required or there would be no point performing the steps at all. If I achieved every step to technical perfection (what even is that!?), the performance would be lacking
Lachan Monaghan in rehearsal with Yu Kurihara. © Ty Singleton.
something and equally, if I sobbed
can have this effect too. Opening
the entire way through, never taking
my heart and allowing the audience
my eyes off Juliet but fell out of every
space to see the real me, the Romeo
dance step, I might lose my job – or at
I’ve chosen to be, is surely the most
the least, my pride. It is this balancing
powerful thing I can hope to achieve in
act that makes this ballet so difficult.
Being coached on this ballet has raised
As human beings, we are always
such interesting ideas for me, such as,
performing, putting ourselves on
that the strength in these characters is
display and showing the world the parts
in their subtle interactions - the tiny
of us we want them to see. There is
moments that the audience barely
power and connection in dropping that
sees unless looking for them. Yes, the
performance veil and letting people see
dancing is gorgeous, but it means
us for who we are.
nothing if not built upon a foundation of thoughts and emotions.
I am a ballet dancer, but I am first and foremost, a human being who has
My personal approach is that I am an
feelings, who has found love, lost it,
actor who is dancing rather than a
hurt, knowingly or unknowingly, and
dancer, acting. It can completely flip
been hurt, and I can only hope that
the way in which certain scenes read if I
when I step on stage to play Romeo,
consider, first and foremost, that
I can draw on these experiences;
I am supposed to be making Juliet,
ironically, strip away the performance
the audience, whoever it may be, feel
veil, and be real, honest and true.
“Opening my heart and allowing the audience space to see the real me, the Romeo I’ve chosen to be, is surely the most powerful thing I can hope to achieve in this role.”
something. My thoughts have suddenly gone to when a performer falls over and can ironically have the entire audience in the palm of their hand because of this. I believe that vulnerable emotion
For biography of Lachlan visit brb.org.uk/dancers
INSIGHT: LLINOS OWEN The Royal Ballet Sinfonia’s Bassoonist tells us why Romeo and Juliet is her favourite
Prokofiev’s Romeo and Juliet is my
I tend to well up in Act I when the
absolute favourite ballet to play –
flutes quietly play one of Juliet’s
it’s an absolute joy to come to work
themes as she innocently dances in
and play this wonderful music. The
her bedroom. As an audience, we know
first time I got to play some of it was
the tragedy that will be unfolding
performing the Balcony Scene at one
when we hear this theme again in
of our Music and Dance concerts at
Act III, reorchestrated and painfully
Birmingham’s Symphony Hall. I always
reharmonised to reflect the pathos.
enjoy the Music and Dance concerts,
In fact, there’s often a box of tissues
since the orchestra perform on stage
making its way around the orchestra
so we actually get to see the dancing
during this ballet, not least at the
for a change (only in our bars’ rest
ending. As Amos Miller our Principal
obviously)! Watching the breathtaking
Trombone so rightly described the
dancing, the beautiful acting combined
final notes – this ballet ends with ‘the
with the exquisite music, immediately
saddest C major chord in history’.
transported me back to being a teenager falling in love for the first time, and having that wonderful feeling of ‘it’s possible that no one has ever been this in love before!’ There’s not a note wasted in this work of genius by Prokofiev, and it’s great to be back to a full-strength orchestra in the pit; I’ve missed the joy and richness of two bassoons and a contrabassoon! As well as being my favourite ballet score, this is also the first ballet that I got a ‘full house’ for, having played the contra part, as well as 1st and 2nd bassoon parts. The contrabassoon part is one of the best in the repertoire – providing depth and colour as well as solos with the tuba and bass clarinet, such as the ‘Poison Theme’. It’s such an emotionally charged score, and so well balanced with moments of lightness and humour.
“There’s not a note wasted in this work of genius by Prokofiev”
When we see beyond borders we see opportunity everywhere. Visit hsbc.co.uk/opportunity
Applications are open for the 21/22 cohort! The LEAP Ambassadors programme offers a unique
a sharing of the Ambassadors’ achievements and the LEAP
opportunity for young people aged from 16 to 25 to
Ambassadors Celebration on Friday 8 July 2022 in the Patrick
investigate behind-the-scenes, experience practical
Studio, Birmingham Hippodrome.
projects, develop new skills, meet new people and become an integral part to a vibrant arts organisation. Once selected, Ambassadors participate in group training sessions, which offer insight into the various departments and job roles available in a large arts organisation. These include Project Management, Company Management, Brand, Marketing & Communications, Technical Production and much more! Adding further value, Ambassadors receive a personalised training programme tailored to their interests, where they have the chance to shadow a member of staff and gain invaluable ‘hands on’ experience. Following a successful pilot year in 19/20 and a year break due to the pandemic, we’re delighted to be opening the doors to this programme again. This year’s programme will take place from November 2021 to July 2022, and culminate with
TO APPLY Full details, including an application form, can be found at www.brb.org.uk/get-involved/ambassadors The deadline for applications is Friday 22 October 2021. Please note this programme is not suited to people working professionally in the arts.
WANT TO FIND OUT MORE? If you have any queries about applications or would like to informally ask for more details about the programme, please contact Hannah MacGregor on 0121 245 3534 or email email@example.com
Share the stage with
Carlos Curates: R&J Reimagined Romeo + Juliet Radio and Juliet
Top: Mayowa Ogunnaike and Subhash Viman Gorania in the title roles of Romeo + Juliet. © Joe Bailey. Right: Radio and Juliet. © Marta Tiberiu.
Mayowa Ogunnaike as Juliet and Subhash Viman Gorania as Romeo. © Brian Slater.
Romeo + Juliet Director and Choreographer Rosie Kay
Original cast of dancer-choreographers
Producer James Preston
Mayowa Ogunnaike, Subhash Viman Gorania, David Devyne,
Composer Annie Mahtani after Hector Berlioz
Dan Baines, Deepraj Singh, Patrick Webster, Iona McGuire,
Arranger Robin Wallington
Harry Ondrak-Wright & Ayesha Fazal
Dramaturg Ben Payne Designer Louis Price
Artistic Advisors Dylan Duffus, Azita Zohhadi, Shanelle
Lighting Designer Mike Gunning
Clemenson, Aakash Odedra and Sonia Sabri.
Technical Manager Chris Heigham Costumier Sasha Keir Royal Ballet Sinfonia Guest Conductor Martin Georgiev
THE STORY Act 1 – Prologue in the Park
Act 4 – The Bedroom
The M’s – leader Merc, Ben and Rosa
With Ty gone, Paris takes Juliet hostage
– recruit Romeo as a member. The
and LJ is left conflicted. Angel brings
C’s – leader Ty, Angel (a nurse), Paris
Juliet a drug that will make her appear
and self-serving LJ – move in to protect
dead so that she can escape and go to
their turf. Ty’s sister Juliet arrives
Romeo. Angel persuades Paris to track
flushed with exam success and we see
down Romeo leaving Juliet alone to
that Paris’s crush on her is unrequited.
take the dangerous pill.
LJ has a vision, a portent of death involving Romeo and Juliet. The gangs
Act 5 – The Riot
fight and though the C’s have the
Rumours breed unrest and things get
upper-hand, Merc succeeds in winding
out of hand in the streets. As Juliet is
up Ty. Rosa welcomes Romeo into the
taken to hospital, we see Ty and Merc
M’s but for her it’s platonic. Romeo is
haunting her hallucinations.
left feeling wistful until Merc and Ben initiate him with knife cuts. Meanwhile,
Act 6 – The Morgue
against a backdrop of drug deals, we
A distraught Paris guards the ‘body’
learn that Rosa and Ty have a secret
of Juliet. When Romeo appears, Paris
relationship, that Angel and Paris are
tries to stab him but is accidentally
a dysfunctional couple and that Juliet
killed. Romeo sees Juliet ‘dead’ and is
longs for an exciting future, away from
heartbroken, he stabs himself just as
the pill wears off and Juliet awakes.
THE CAST The C’s Juliet: Mayowa Ogunnaike Tybalt: David Devyne Paris:
Angel: Iona McGuire LJ:
The M’s Romeo: Subhash Viman Gorania Merc:
Patrick Ross Webster
Delirious at first, she sees Romeo and is Act 2 – The Party
heartbroken, she stabs herself and they
Ty hosts a C’s rave, the M’s sneak in
have one brief moment together before
but for one wonderful night there is no
conflict. As the party gets wilder, Juliet connects with Romeo. Guests leave
Act 7 – Epilogue
worse for wear and LJ passes out.
The grieving survivors return to the park to pay their respects at a makeshift
Act 3 – The Love Duet
shrine. As they remember slain family
Romeo and Juliet fall in love - mind,
and friends, Ben decides to relinquish
heart and body.
the knife and stop the cycle of killing.
The Aftermath LJ witnesses the duet and jumps to the wrong conclusion. He tells Paris who embellishes further, Ty vows to destroy the M’s and the gangs clash. Juliet discovers Ty and Merc both dead, she decides to run away with Romeo but Paris threatens to stab her if she elopes. Romeo is banished and flees the police.
For information about Rosie Kay Dance Company visit www.RosieKay.co.uk
A NEW ROMEO AND JULIET Rosie Kay, choreographer of Romeo + Juliet in conversation with Diane Parkes
Shakespeare’s classic tale of thwarted
Rosie found her inspiration for a new
love Romeo and Juliet is brought up
Romeo and Juliet on the streets of
to date in a new production. Created
Birmingham. ‘I was trying to figure out
by city-based choreographer Rosie
how to make it relevant to today and, a
Kay, the production explores a range
few years ago, when my son Gabriel was
of contemporary issues including
a toddler, I was living in Ladywood and
diversity, race, sexual equality, gang
my nearest play park was in the centre
culture, knife crime and forbidden love.
of Newtown. When you are a mum with a toddler you are a bit invisible and so
But its roots are very much in
I was able to watch the people around
Shakespeare’s famous story.
‘I wanted to tackle one of the big classics in dance and came to Romeo
‘You see how people watch each
and Juliet as it’s both the play and
other and there is tension in the air,
the ballet I love the most,’ says Rosie,
people are checking each other out.
artistic director of Rosie Kay Dance
Young people are flirting so there are
Company. ‘I was lucky enough to have
love affairs but also a dynamic in the
a very good teacher at school and we
atmosphere where you feel that if
studied Romeo and Juliet and I really
they crossed lines it could be really
understood and enjoyed it. This was
about the same time I fell in love for the first time, I was about 15, and you
Rosie wanted a diverse cast for
suddenly wake up to so many new
Romeo and Juliet to reflect the city
and began by exploring South Asian dance, drawing on the experience of
“I want dance to blow people’s minds, for them to fall in love with dance and trust it’s an amazing theatrical experience with a relevance to the here and now.”
Juliet’s Dream: David Devyne, Mayowa Ogunnaike and Deepraj Singh. © Brian Slater.
Merc’s Death. © Brian Slater.
choreographers including Sonia Sabri
different parts of the city and then
expert in these but I know what I want
and Aakash Odedra, who, like Rosie,
joining officers for a week in Ladywood.
and how to get the best out of people.
are associate artists of Birmingham
Here she talked to families whose
This show is about young people,
children had been groomed by gangs,
different ethnicities, gang violence,
with some now involved in selling
things that are very modern and city-
As part of her research, Rosie was
drugs and others having suffered gang
based and I didn’t want any of this to
invited to Sparkbrook’s Nelson Mandela
violence and knife crime.
come from the wrong perspective so it’s
School by head teacher Azita Zohhadi
been essential to have the collaborative
where she discussed the play and its
Following the research, Rosie created
approach. This piece has all the themes
issues with nine- and ten-year-old
a storyline and began work on the
you can trace throughout my work like
characters but she was also keen for the
love, sex, violence, group dynamics,
dancers to help create their roles.
bullying and pressure but it also has so
‘We were exploring things around gangs
much input from the research and the
and identity, violence and threats of
‘I wanted the dancers to recognise
violence, equality and relationships,
themselves in the role and, in the
consent and balance between the sexes.
audition process, we had long chats
The show is 75 minutes long and set to
At first I wondered if the children were
about their thoughts for the story and
a soundtrack by Birmingham-based
too young for these themes but Azita
the characters. So, right from the very
composer Annie Mahtani which blends
was very clear that if we don’t talk
beginning, I was asking them to fill out
her electroacoustic music with Berlioz’s
about these things at primary school
these characters with their own life
dramatic symphony Roméo et Juliette.
age it’s too late by the time they go to
Never one to shy away from ‘The dancers were very much co-
controversial subjects, Rosie’s past
Rosie also wanted to see how these
choreographers, they really made it
works have included explorations of the
issues impacted on older children and
with me. They had such a range of
physical and psychological effects of
young adults so spent time on the beat
dance skills from South Asian, street,
war, media brainwashing and women’s
with West Midlands Police, first visiting
contemporary, hip hop – I’m not an
sexuality and it was important that
For a biography of Rosie Kay visit www.RosieKay.co.uk/rosie-kay
“The dancers were very much co-choreographers, they really made it with me. They had such a range of dance skills from South Asian, street, contemporary, hip hop’’
Iona McGuire as Angel. © Brian Slater.
this Romeo + Juliet also tackle difficult
about providing the things that really
her because she’s young but she’s also
issues head on.
excite young people like youth clubs,
seen things which keep her grounded.
activities and opportunities for things
She has a lot of hopes, desires and goals
‘I want dance to blow people’s minds,
like dance because without these you
she’s committed to.
for them to fall in love with dance
will get a youth that turns in on itself.’
and trust it’s an amazing theatrical
‘I feel really connected to her character.
experience with a relevance to the here
Mayowa Ogunnaike takes the part of
In the research and development Rosie
Juliet and the dancer from London was
gave us all kinds of questions like how
keen to create a Juliet for today. ‘My
old our characters are, their families,
‘The research for this show has shown
Juliet is really strong-minded,’ she says.
what interests they have, what they
us that we need to create a society
‘With her and Romeo there’s more of
want in the future, their fears and
where young people feel valued and
equality in terms of power dynamics.
desires and we spent a lot of time
listened to. I think that’s the moral
She’s a dreamer and adventurous, an
talking about who that character was.
of the story - adults need to take
optimist but she also has this bit of an
There’s a lot that the audience won’t
responsibility for young people. It’s
edge about her. There’s a naivety about
even see in the show but it makes the
characters who they are.
‘In doing so, I feel like I’ve got to
‘I hope the audience connect to the
understand some of how Rosie
characters and can relate to them. It’s
choreographs characters which is
a representation of a gang culture in
new for me and she’s getting a better
Birmingham but it’s also a love story
understanding of classical Indian
and a tragedy and people will really feel
the emotion coming from us.’ ‘Rosie wanted to make sure that Romeo Mayowa has performed with a host of
was completely different to all the
companies including Phoenix Dance
other gang members so it was about
Theatre, Uchenna Dance and ACE
what makes him attractive to Juliet?
Dance and Music but Romeo + Juliet has
We brought Indian classical dance
been a new experience. ‘We all come
to differentiate me from the other
from different backgrounds in dance,
characters so we had a natural way of
mine is more contemporary, and we
making Romeo stand out.’
all have very different ways of moving but it’s been really inspiring. So, for
The Leicester-based dancer and
example there’s a really long duet with
choreographer has worked with many
Romeo and Juliet where marrying our
leading companies and choreographers
styles really works. We move differently
including Birmingham-based Sampad,
but we still move as one.’
Sonia Sabri, Akademi, Chitraleka Dance Academy and Aakash Odedra.
Subhash Viman Gorania, who plays
Currently artistic director of Morph
Romeo, was also attracted by the idea of
Dance Company and dance artist
a different kind of Romeo and Juliet.
in residence at Leicester’s Peepul
‘We grow up with Romeo and Juliet -
Centre, Subhash believes this new
there have been billions of adaptations
Romeo + Juliet will resonate with local
of the story and so many Bollywood
movies are based on it but they’re always through the same lens,’ he says.
‘Rosie has managed to pick a team of
‘Rosie really wanted to do something
nine dancers who are so completely
different. She wanted to bring it
different and the diversity is shown in
from the view of young people in
the choreography so I really think it
Birmingham today and, especially with
brings the diversity of Birmingham to
Birmingham being so multicultural and
the stage. There will be characters in
with gang violence, it’s a perfect setting
there who audience members know,
for this story.
have met or have experienced and will connect .’
‘In rehearsals we were given the
Mayowa Ogunnaike as Juliet and Subhash Viman Gorania as Romeo. © Brian Slater.
freedom to explore our own experiences
Diane Parkes is a freelance journalist
and bring them to the characters and I
specialising in the arts. A reporter for
think that has helped shift both Romeo
more than 30 years, she has worked for
and Juliet. As it’s a modern day telling, it’s us, who we are, on stage.’ Working
newspapers, magazines, online and arts organisations locally and nationally.
with a range of styles has also been a learning process. ‘I come from a classical and contemporary South Asian dance background, Bharatanatyam and Khatak, and Rosie comes from a contemporary background so it was about us building a choreographic language together.
For biographies of the dancers visit www.RosieKay.co.uk/r+j
© Marta Tiberiu.
Radio and Juliet Choreography Edward Clug
World premiere: Slovene National Theatre, 2005
Music Radiohead (Presented under licence from Warner
First performance by Birmingham Royal Ballet, 14 October
Chappell Music Limited. Master rights holder, Beggars Group
2021, Birmingham Hippodrome.
Media Limited) Sets Marko Japelj Costume Leo Kulaš Lighting Tomaž Premzl Répétiteurs Matjaž Marin, Tijuana Križman Hudernik
THE MAN WHO MARRIED RADIOHEAD AND SHAKESPEARE Edward Clug, choreographer of Radio and Juliet in conversation with Deborah Weiss
Edward Clug in Radio and Juliet. © Marta Tiberiu.
Romanian born choreographer, Edward
and since then the company has
Clug, is about to become a more
been invited all over the world to
familiar name in the UK, thanks to
perform it (and Clug’s other works)
an invitation from Carlos Acosta and
from Jacob’s Pillow to St Petersburg,
Birmingham Royal Ballet, to stage his
Singapore, Biarritz, Seoul, Milan, Tel
internationally renowned production of
Aviv and Pittsburg, to name just a few.
Radio and Juliet.
It has become a signature work for the company.
For the last 30 years he has lived in, danced with (1991) and was appointed
I’m keen to ask him why and how he
artistic director (2003) of the Maribor
thinks its success came about. ‘More
Ballet in Slovenia. When we meet on
that the complete ballet, I would say it’s
Zoom, it is immediately apparent that
because many great principal dancers
he is passionate about every aspect of
have taken part of it and danced it at
his life there.
galas. Denis Matvienko and his wife, Anastasia started it, dancing in New
Softly spoken and unassuming,
York and London, and I presume Carlos
his Radio and Juliet, to music by
has had a chance to see it. Of course
Radiohead, was conceived and
we were performing it in many dance
performed for the first time in 2005
festivals but I would say that they
in Maribor for the Slovene National
[Matvienkos] made a very concrete
Theatre. It was an instant success
For a biography of Edward Clug visit brb.org.uk/carlos-curates
“I had decided to make her the only female in the piece, building everything else around her, to create her own universe from her perspective. ” 23
documents what did and didn’t happen He does, of course, know his own
to her. It relies on the audience’s
dancers very well but I wonder what
perspective - to follow the performance
the challenges have been when setting
through their own experience.
the complete work on a company that is new to him. ‘We’ve already had the
This was my first attempt to delve into
experience of transferring the piece
narrative ballets, having done mostly
to other companies, different dancers
abstract. I was aware of the brilliance
and personalities. The choreographic
of the MacMillan and Cranko versions
structure is very defined, so in that
and didn’t want to offend the purity of
sense, people always aim for that
these. I felt we had to go into the 21st
specifically. Once the dancers get
century and take it a step further using
used to this new vocabulary, from that
Radiohead music - my favourite band.
moment on, we want to focus on the
They continue to reinvent themselves
dancers’ personalities, keeping the
and I would like to think that I do this
existing structure whilst allowing the
too. It was definitely a turning point in
dancers to find their own freedom.
my career and triggered interest in the
It’s always been challenging but I
think the dancers find it attractive, it’s very creative. It’s been the same with
‘It was not easy to make the decision
Birmingham Royal Ballet. I’m sure the
about the music because it was very
dancers are going to shine in it.’
personal to me. I was sharing an intimacy in my work with the public.
Clug made the decision to digress from
Songs that are used in the performance,
the original Shakespeare play and
I can’t listen to in the same way. Ideas
create a scenario where Juliet decides
came from the music and the story. It
not to take her own life. Quite a radical
was purely instinctive. The characters
u-turn. ‘I had decided to make her
are not obviously depicted but for
the only female in the piece, building
example, when Mercutio dies, his solo
everything else around her, to create
is to Bullet Proof… I wish I was. There
her own universe from her perspective.
is an additional element for audiences
The piece is also retrospective, it
because they listen to the lyrics which
“I felt we had to go into the 21st century and take it a step further using Radiohead music - my favourite band. They continue to reinvent themselves and I would like to think that I do this too”
© Ivan Vinovrski
meet perfectly with the story. Once I’d made the decision to marry Radiohead with the play, it felt completely natural. It coincided with their 2003 album, Hail to the Thief, which was very political. It was good for the element of conflict. We don’t have Capulets and Montagues as such, but there is conflict in the atmosphere. It comes from the beat of the music and some very deep poetry in the lyrics.’ Romeo/Radio dies from digesting a lemon. I want to know the significance. ‘It’s the poison, the sourness, the unpleasant acid and unfulfilled love, the taste of frustration, the forbidden fruit.’ Finishing on an anecdote, he tells me, ‘To emphasise the modernity of the piece, last year after the first lockdown, we celebrated 15 years of performances. We opened the season with a revival. There were many people watching who hadn’t seen it before. People came up afterwards saying how ingenious it was that we had incorporated masks into the performance. I said, “Actually - we did that fifteen years ago!’’ Edward Clug - a man way ahead
© Marta Tiberiu.
of his time. Deborah Weiss is a former principal dancer who danced primarily with London Festival Ballet (now English National Ballet) and the Bayerisches Staatsballett in Munich. Since 1993 she has been a freelance dance writer and critic
Technical credits Scenery built and painted by Visual Scene Ltd. Costume made by Parkinson Gill Costume Supervisor Elaine Garlick Production Manager David Pritchard.
Radiohead track list Fitter Happier
Like Spinning Plates
Pulk/Pull Revolving Doors
How to Disappear Completely
Bullet Proof... I Wish I Was
Sit Down, Stand Up
Motion Picture Soundtrack
We Suck Young Blood
Living In A Glass House
For a castsheet visit brb.org.uk/carlos-curates
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SUPPORTERS’ EVENTS CALENDAR
Taking every chance to dance Welcome to your Events Calendar
Sarah Crompton catches up with Carlos Acosta and Caroline Miller
You never know what’s around the corner
We have curated a range of free events which you can enjoy from the comfort of your house via Zoom. Events include:
Back to the future
An opportunity to socialise with our fantastic dancers, musicians and production team, and to ask any questions you might have about their careers.
To Book Events To book any of the events, simply visit Birmingham Royal Ballet website brb.org.uk/supporters-events All online events are free, but please book your space and details of how to join the event will be emailed to you.
Dancers’ Circle roundtable Guests from across Birmingham Royal Ballet will give an insight into their careers and experiences within the arts.
Jenny Gilbert talks to Alessandra Ferri
Exclusive Supporters’ talks First Soloist, Jonathan Payn, in conversation with guests.
and more... December 2020 – April 2021
Beatrice Parma and Brandon Lawrence © Sam Robinson
For more information and to become a Supporter visit brb.org.uk/support-us
WHEREFORE ART THOU?
An exhibition of specially commissioned art inspired by Radio and Juliet on display at venues across Birmingham until 17 October Wherefore ART Thou? is an art and design installation project commissioned by Birmingham Royal Ballet in partnership with Birmingham City University and De Montfort University, Leicester to celebrate the Company premiere of Edward Clug’s Radio and Juliet. The commissioned artists have received creative professional development, including mentorship by multi-awardwinning experiential art duo Davy and Kristin McGuire, and exclusive access to Birmingham Royal Ballet.
Carlos Acosta with the Wherfore ART Thou? artists, mentors, and members of our Learning, Engagement, Access and Participation team. From left: Kasia Kraus, Hannah MacGregor, Isabelle Homer, Davy McGuire, Kristin McGuire, Carlos Acosta, Kallirroi Vratti, Leona McDonough-Smith, Tegan Robinson-Morris, Sarah Harper. © Man Yee Lee.
MEET THE ARTISTS Sarah J. Harper Illustrative Fibre Artist, Birmingham City University Location of artwork: John Lewis shop window (opposite Joe & Juice), First Floor, Grand Central B2 4XJ I have created four individual pieces:
Monochromatic dream state
when combined they represent my
Bittersweet and fragmented
interpretation of the ballet and music in
forms that express movement and raw emotions. The dancers responded to a
The shapes, words and emotions within
survey, which asked them to evaluate
my work are shown in my fibre art,
the emotions felt whilst they danced
incorporating 3D spheres of woven,
Radio and Juliet.
upcycled and freehand embroidered sections using fibres and MDF.
The descriptive words and emotions I worked with were:
Photos © Paul Telfer.
Isabella Homer Embroidery Artist, Birmingham City University Location of artwork: Outside studio 5, Birmingham Hippodrome ‘Preservation of a Memory’
manner of historical embroidery – very illustrative and symbolic in its use of
I was most inspired by the storytelling
colour and imagery. I have revisited the
in Radio and Juliet, in its use of Juliet’s
original text to derive more symbolic
flashbacks to deliver the story of Romeo
detail for each memory, and applied
and Juliet, out of order and in less detail
to clothing based around the costume
than the written word. It strikes a chord
worn in the ballet, effectively applying a
in the way that we as people remember
visual memory to the clothing.
events, quite often in less specific memories and more vague emotion.
For each piece, I wanted to trap Juliet’s memory in the clothing, using
In my work I am interested in
embroidery, illustration and colour.
storytelling through textile in the
Tegan Robinson-Morris Interactive Installation Artist, Birmingham City University Location of artwork: City Café foyer (ground floor), Symphony Hall, Broad Street B1 2EA Mine is an interactive piece, with
This piece was also inspired by a trip to
a typical English letterbox at the
Verona, where the walls surrounding
forefront. The public are invited to post
‘Juliet’s Balcony’ are covered in graffiti
their own letters or write messages
and notes left by visitors to their loved
directly onto the installation.
The box has a transparent element
Ultimately, I would like to empty the
allowing viewers to see the letters fill
letters from the post box and arrange
up. You are invited to use the desk for
for them to be shared (anonymously)
letter writing and the armchair to spend
through social media to continue the
some time in a comfortable reflective
element of community engagement.
Kallirroi Vratti and Leona McDonough-Smith Contemporary Dance Artists, De Montfort University, Leicester Location of artwork: Multi-screen digital wall, Library of Birmingham, Centenary Square B1 2EA
‘Detachment’ Videographer: Devesh Sodha
clinical environment to reflect the alienation and detachment these beings have compared to us as humans.
The intention for our dance for film
Growing up in our generation and
was to investigate how we relate to
being surrounded by technology, we
love and connect with others, what
resonated with the idea that we have
would happen if we were to become
disconnected with those around us.
cyborg-like characters? Especially in today’s world which is heavily driven by technology. Are we conditioned in a similar way machines are programmed? We wanted to create a sterile and
For more information visit brb.org.uk/art
WELCOME: CHARLOTTE POLITI The Royal Ballet Sinfonia’s new Constant Lambert Fellowship Conductor tells us about her passion for music.
Named after the Founding Music Director of the Royal Ballet companies, the Constant Lambert Fellowship is a joint initiative with The Royal Ballet designed for conductors aspiring to gain the particular skills required to conduct for ballet. The mentoring is led by Koen Kessels, Music Director of both companies, and Paul Murphy, our Principal Conductor. This autumn we are delighted to welcome Charlotte Politi.
How did you discover your passion
What are your memories of your first
As a child I loved playing in orchestras.
My first professional engagement was
Later I became passionate about
in opera. I loved the feeling of being
scores, recordings of orchestral music.
involved in a theatre production that
Conducting came slowly and naturally
includes not only music, but also stage
to me. I can’t think of a specific
direction, costume design, set design,
moment where I decided I wanted to
and so forth. Conducting a show of
become a conductor. Now when I think
over three hours flew by, because of
back, it seems it’s something I always
how everybody was so connected in the
wanted to do, even before I could put in
words what it means to be a conductor. What do you hope to get out of the How did that lead to conducting for
I hope to learn from every musician, to
What attracted me to ballet is the
be inspired by every artist I will get to
wonderful repertoire. Furthermore,
work with. I hope I will be able to give a
I’ve always liked the idea of working in
positive constructive contribution and
collaboration with art forms, other than
at the same time to develop my skills
music. I love the theatre company life,
and grow in my profession.
and the spirit of collaborations between arts.
“Charlotte is a very talented young conductor I am looking forward to mentoring her throughout this unique process and observing her development in the speciality of conducting for dance.’’ Paul Murphy, Principal Conductor. 30
BIRMINGHAM ROYAL BALLET Director Carlos Acosta cbe Assistant Director Dominic Antonucci Chief Executive Officer Caroline Miller obe Acting Chief Executive Officer Anna Williams fca, dcha Music Director and Conductor Koen Kessels Birmingham Royal Ballet Board of Directors Sir David Normington gcb Chair Barry Allen Marverine Cole Anthony Coombs Sandra Crossley Michael Elliott Jane Hackett Shireenah Ingram Jeanetta Laurence obe Christine Ondimu Hemma Patel Councillor Carl Rice Deborah Spence
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Anna Williams fca, dcha Company Secretary
Governors of the Royal Ballet Companies and School Dame Sue Owen Chair Leanne Benjamin am obe Vice-Chair Sir Matthew Bourne obe Anne Bulford obe Hilary S. Carty bma ccmi Lady Alison Deighton Stephen Jefferies Jeanetta Laurence obe Iain Mackay Sir David Normington gcb Derek Purnell Luke Ritter cbe Christopher Rodrigues cbe David Ross Lindsay Tomlinson obe
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Individual Giving Manager Chris Smith
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Senior Human Resources Administrator Sam Howe
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LEARNING, ENGAGEMENT, ACCESS & PARTICIPATION
Receptionist & Administrator Karen Fisher
Director of Learning, Access Engagement & Participation
Business Administration Apprentice Lucy Tranter
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Head of Creative Learning Lee Fisher Participation Manager Rebecca Brookes Engagement Manager Kasia Kraus Participation Coordinator Katherine Field Engagement Coordinator Hannah MacGregor
DEVELOPMENT Director of Development Matt Freeman Senior Manager – Trusts & Foundations Anna Hodgkinson
Facilities Co-ordinator Glenn Rudge Caretaker Philip Pearsall COMPANY OFFICE Company Manager Will Mauchline Sabbatical Acting Company Manager Tristan Rusdale Acting Assistant Company Manager Leanne Ward EO / DIRECTOR PA to CEO & Director Jessica Rupert
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FINANCE & PROJECTS
Senior Lighting Technicians Alastair Phillips Andy Rumble
Executive Producer Abigail Reeve
Lighting Technicians Scott Smith Marcus Trombley Apprentice
Chief Operating Officer Anna Williams fca, dcha
Finance Manager Kamla Korotane Systems & Management Accountant Finance Jocelyn Addlington Finance Officers Deseree GreenawayWilliams Ruth Whelan Finance Assistant Charlotte Rowley ORCHESTRA STAFF Orchestra Director John Beadle Orchestra Manager Andrew Bentley TECHNICAL Technical Director Paul Grace Senior Stage Manager Diana Childs Deputy Stage Manager Eliska Robenn Assistant Stage Manager Gracie Adlington Head of Scenic Presentation Doug Nicholson Head of Stage Ben Leveson Deputy Head of Stage Paul Moore
Head of Costume / Costume Supervisor Elaine Garlick Costume Production Coordinator Vanda Hewston Production Costume Cutter & Maker Rosie Armitage Anna Willetts Production Costume Technician Joanna Shilton Touring Costume Manager Shermaine Goucol Costume Technicians Lucy Cook Rebecca Jones Jennifer Priestly Gabrielle Raven Shoe Supervisor Michael Clifford Head of Wigs Lauren FitzGerald Deputy Head of Wigs Fay Johnson Wigs Assistant Lizzie Mcquire
Birmingham Royal Ballet’s repertory is recorded in Benesh Movement Notation by qualified choreologists trained at the Benesh International, 36 Battersea Square, London SW11 3RA
Director Carlos Acosta
The Nutcracker 20 November – 11 December
© Ty Singleton.
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Trusts and Foundations
The Alan Woodfield Charitable Trust The Alison Hillman Charitable Trust Amar-Franses and Foster-Jenkins Trust The Arts Society Birmingham The Aspinwall Educational Trust The Austin and Hope Pilkington Trust Baron Davenport’s Charity Bayfield Charitable Trust BHSF Medical Charity and Welfare Trust The Bernard Piggott Charitable Trust The Boshier-Hinton Foundation The Brian Shaw Memorial Trust The Britford Bridge Trust The Calleva Foundation The Cecil King Memorial Foundation The Charles Brotherton Trust The Chatwin Trust Clare King Charitable Trust The Clore Duffield Foundation The John S Cohen Foundation The D’Oyly Carte Charitable Trust Dumbreck Charity The Edgar E Lawley Foundation Ensix Charitable Trust Eric W Vincent Trust Fund Eveson Charitable Trust George Fentham Birmingham Charity The George Henry Collins Charity GJW Turner Trust The Goodenough Charitable Trust The Grantham Yorke Trust The Grey Court Trust The Grimmitt Trust The H Steven and P E Wood Charitable Trust The Hawthorne Charitable Trust The Helen Rachael Mackaness Charitable Trust Henry James Sayer Charity The Idlewild Trust IMI Critical Engineering Charitable Appeals Committee The James Frederick and Ethel Anne Measures Charity The John Avins Trust
The John Thaw Foundation Langdale Trust Limoges Charitable Trust London Ballet Circle The Loppylugs and Barbara Morrison Charitable Trust The Lord Austin Trust M K Rose Charitable Trust The Marchus Trust Marsh Charitable Trust The Michael Marsh Charitable Trust Michael Watson Charitable Trust The Oakley Charitable Trust Owen Family Trust The Patricia Routledge Charitable Trust The Peter and Teresa Harris Charitable Trust Provincial Grand Lodge of Warwickshire PRS Foundation Quayle Charitable Trust Richard Cadbury Charitable Trust The Roger and Douglas Turner Charitable Trust The Roughley Charitable Trust The Rowlands Trust RPS Drummond Fund The Rix-Thompson-Rothenberg Foundation/Baily Thomas Charitable Fund The RVW Trust The S and D Lloyd Charity Sabina Sutherland Charitable Trust The Saintbury Trust Scops Arts Trust Souter Charitable Trust St Jude’s Trust St Thomas’ Dole Charity Stanley Picker Trust The Sterry Family Foundation The Sylvia Adams Charitable Trust
Corporate Supporters Charles Stanley National Express Nicholls Brimble Bhol Price Pearson Taxwise Forresters
The Thistle Trust The Uncle Bill Trust The Vandervell Foundation W E D Charitable Trust The Wilmcote Charitrust and those trusts and foundations that prefer to remain anonymous.
The John Sumner Trust
For full lists of Birmingham Royal Ballet’s generous supporters visit brb.org.uk/join-and-support
PERFORMANCE CALENDAR Curated by Carlos: Triple Bill City of a Thousand Trades | Imminent | Chacona
Thursday 4 – Saturday 6 November 2021 Sadler’s Wells, London
Thursday 10 – Saturday 12 February 2022
Mayflower Theatre Southampton www.mayflower.org.uk
The Beauty of Ballet The Royal Philharmonic Orchestra is joined by dancers from
Friday 18 – Saturday 26 February 2022
Birmingham Royal Ballet.
Wednesday 10 November, 7.30pm 2021
Royal Albert Hall www.royalalberthall.com
Wednesday 2 – Saturday 5 March 2022 The Lowry, Salford
20 November – 11 December 2021 Birmingham Hippodrome
Thursday 10 – Saturday 12 March 2022
Sunderland Empire www.atg.com
The Nutcracker 28– 31 December 2021
Wednesday 16 – Saturday 19 March 2022
Royal Albert Hall
Theatre Royal Plymouth
Our specialists listen to your requirements and always put your needs first. We leave the drama on the stage.
Proud supporter of Birmingham Royal Ballet
PRICE PEARSON C H A RT E R E D AC C O U N TA N T S
01384 456 780 www.pricepearson.com