Reviews of the Birmingham Royal Ballet.
The Financial Times
In everything, the programme is a logical and honourable continuation of the traditions of our national ballet. Standards of dancing may be less gleaming than at Covent Garden – though without imported artists neither troupe seems able to cope with its repertory – yet, watching BRB, I sensed the essential links with those historic and inevitable ideals that should distinguish our national troupe (which I have watched and deeply loved for much of its existence) and increasingly seem forgotten or ignored at Covent Garden.
E=mc² seemed to come from nowhere in 2009, with Matthew Hindson's score and Bintley's ambitious imagining of the classic Einstein equation in pure dance.
Its first two sections are especially fine. Energy, the first, is clamorous with activity, its dancers clustered into configurations whose density explodes in one extended starburst of a pas de deux....
Tombeaux was originally created for the Royal Ballet, and is a lament for both Bintley’s choreographic idol Frederick Ashton and for the state of British ballet itself. With lush stage design by Jasper Conran, the piece is a respectful, carefully-crafted elegy to the Ashton style; those who love Ashton will therefore probably enjoy it.