Birmingham Royal Ballet 2 performing Carlos Acosta’s Ballet Celebration. Royal & Derngate. Northampton

The Birmingham Royal Ballet have put on an incredibly alluring and enchanting performance, which proves that ballet is far from an outdated art form.

Carlos Acosta, Director of the Birmingham Royal Ballet, has showcased some of the world’s best young ballet graduates, aged 18-22. The performance features highlights from Serge Diaghilev’s group of rebel dancers, musicians, and designers who left Russia to set a new standard in creativity that inspires and resonates with people; the birth of modern ballet.

A wide range of ages fills the audience, from friend groups in their mid-twenties to elderly couples enjoying an afternoon out. For me and my mother, whom I brought along with me, it is our first time ever watching a ballet, and something that is different to the usual mainstream musical we go to see at the theatre. When musicals use so many words to convey emotion and meaning to a story, it is interesting to see how a ballet can do just that with no words at all.

The first half of the performance features Mikhail Fokine’s Les Sylphides, a piece that certainly centres around the beauty of perfection. Whilst, arguably, many audience members focus on the four lead dancers, I must credit the ensemble of women whose movements are flawlessly synchronised. Each step taken is as light as a feather, and their bodies sway with a delicate softness. It is clear that these women put in the hard work to achieve the ethereal aesthetic of the piece.

Whilst I appreciate the elegance and grace of the first half, I must say that the second half of the performance personally feels much stronger and more entertaining. Because there is no actual plot to Les Sylphides, it eventually becomes quite repetitive, with approximately 30 minutes of the same pretty spins and twirls. The second half, on the other hand, consists of four new pieces which tell unique and riveting stories, injecting the production with energy.

One specific piece that stands out to me most is Mikhail Fokine’s Le Spectre De La Rose, which tells the tale of a young girl (Hannah Martin) who dreams of the Spirit of the Rose (John Fontanini), given to her by an admirer. The Spirit encourages the girl to dance with him as he soars and bounds across the stage, with an excitement flowing through his bones. It is lively, fun and thrilling.

In every piece throughout the performance, the performers’ costumes create a magnifying and abstract effect that entices the audience. From traditional white dresses to a 1920s golden gown, and even a stripy beach vest and shorts, the range of colourful costumes adds to the dreamlike atmosphere and enhances each story’s individuality. Elaine Garlick, Head of Costume, has done a fantastic job.

The programme runs for approximately an hour and 35 minutes, including a 20-minute interval. Whilst being quite a short run, it is worth the experience, whether you are a performing arts lover or perhaps want to widen your horizons.

If you happen to be in Peterborough, then you’re lucky! The last stop ends there, and tickets are still currently available on their website.