Royal Ballet- Encounters; Birmingham Royal Ballet- Luna review – the moon and mischief

At the Royal Opera House and Sadler’s Wells in London, the recent performance of “Encounters” showcased a dynamic mix of four ballets, two by female choreographers and two by Black male choreographers, complemented by a diverse lineup of conductors and living composers. The evening was an exciting blend of creativity and talent, and we had the opportunity to speak with some of the artists involved.

When asked about the evening’s highlights, many could not help but mention Pam Tanowitz’s piece, “Or Forevermore,” which stood out for its clever irreverence and technical brilliance. The American choreographer’s approach consistently challenged the norms of classical dance, engaging the audience with vibrant humor. Dancers Anna Rose O’Sullivan and William Bracewell opened the performance dressed in matching velour tracksuits, playfully nodding to the backdrop of the Royal Opera House while also sporting PT initials in gold.

According to Tanowitz, “The piece is all about the unexpected. I want to take classical dance and turn it on its head.” The ballet featured lighthearted moments, such as a boy soaring through the air and a disembodied hand assisting with an arabesque. However, it was the more profound sequences between Bracewell and O’Sullivan that stirred viewers, hinting at deeper emotions behind the dazzling choreography.

In contrast, we discussed Joseph Toonga’s “Dusk,” which offers a more understated take on blending hip-hop with classical moves. The choreography captures emotional connections among the dancers, as it subtly contrasts strength with grace. Toonga shared, “It’s about telling a story through movement and creating dialogue within the performance. I want to evoke familial feelings.”

Completing the program was Kyle Abraham’s reflective “The Weathering,” which poignantly portrayed themes of love and loss, alongside Crystal Pite’s stirring “The Statement.” The latter has gained significance over time, powerfully reflecting on political indifference through intricate choreography and sharp lighting. Merging text and movement, Pite’s work retains its relevance, making a strong impact on today’s audiences.

Shifting gears, we also explored Birmingham Royal Ballet’s “Luna,” which premiered earlier this month. The performance gathered the creativity of five female choreographers under a theme of female empowerment, though reactions to the execution varied. While some choreographers struggled to find their footing with the moon-themed backdrop, others, like Kate Whitley, produced ambitious work. Whitley’s score masterfully intertwined classical music with modern arrangements, providing an invigorating backdrop for the mixed results on stage.

As the critics weighed in, “Encounters” received four out of five stars, while “Luna” was rated three stars. Audiences will have the chance to experience “Encounters” at the Royal Opera House until November 16, a celebration of contemporary ballet that promises to ignite discussions about dance’s evolving landscape.