Birmingham Hippodrome’s recent choice to feature five female choreographers in a single production is undeniably a bold move. However, this sweeping homage to empowered women grapples with delivering a cohesive narrative.
I had the chance to speak with Lyndsey Winship about the ballet, and she offered her thoughts on the initiative. She explained that BRB’s artistic director, Carlos Acosta, set out to shift away from the traditional male-dominated choreographic landscape by commissioning an all-female lineup for this production. Yet, as Winship aptly puts it, “the presence of too many cooks was perhaps predictable.”
Initially intended to spotlight Brummie adoptee Malala Yousafzai, the ballet evolved into a more extensive celebration of women. Drawing inspiration from the book “Once Upon a Time in Birmingham: Women Who Dared to Dream,” it eventually morphed into six distinct segments that are loosely tethered by the recurring theme of the moon.
This broad approach resulted in what Winship describes as a “Chatroulette-style surprise,” with each section differing significantly in both style and presentation. Audiences may be taken aback by Seeta Patel’s literal portrayal of girls’ dreams, Iratxe Ansa’s more abstract pieces, a moral-focused children’s chorus, and the varied works from Arielle Smith and Wubkje Kuindersma.
However, the ballet’s approach to feminism comes off as muddled. For instance, Cuban choreographer Thais Suárez’s segment centers on a pas de deux featuring a woman, played by Beatrice Parma, who appears reliant on her partner, Javier Rojas. In contrast, Ansa’s section showcases Parma in a more empowered role, surrounded by male dancers, which further underscores the traditional ballet trope of women as objects of display. Winship raises a valid question about whether this dynamic is effectively challenged within the piece.
Though there are notable highlights in the dance, such as Suárez’s pas de deux, Winship feels the production overlooks many opportunities for deeper exploration. Patel, typically known for her mastery of bharatanatyam, integrates only the faintest echoes of this style, suggesting a hurried creative process that hindered a thorough investigation of various influences.
The score for the ballet, composed by Kate Whitley, blends classical pieces—including compositions by Beethoven and Fauré—with the “Casualty” theme tune. However, it seems Whitley may have focused too heavily on collaboration, trying to cater to each choreographer’s vision rather than crafting a cohesive sound.
In Winship’s words, “Ultimately, someone needed to take the lead here.” The production is set to run at Birmingham Hippodrome until October 5, followed by performances at Sadler’s Wells in London on October 22-23.
