Review: INTERNATIONAL DRAFT WORKS 2025, Royal Ballet And Opera

Choreography isn't easy, so choreographic platforms like International Draft Works (2025) are of the utmost importance. The movement lab returns to the Royal Ballet and Opera's Linbury Theatre for another insight into where present day choreography, of ballet companies, is going.

The first half was made up of four pieces. The work is competently structured and danced, but none of the material feels like a new proposition or impressive.

Burden by Lars de Vos (Dutch National Ballet co-production with ISH Dance Collective) is a well crafted duo ranging from Butoh to rapid gesture, primarily focusing on arm movement. When the legs get involved things feel more interesting, especially aspects of male partnering. More de Vos would be worthwhile - but the full body work ideally.

Sky Above, Voices Within by George Liang (Northern Ballet) feels more like a box ticking exercise than much else. The duo doesn't offer anything of note apart from inclusivity, which of course has its own kind of value.

Heartquake by Emanuele Babici (The Stuttgart Ballet) is a balletic offering, but the overall experience is cringey. One craves dance that uses classical language, but somehow it so often feels naff in practice. Babici goes for a melodramatic love triangle, and though danced well, the cast don't have the acting capabilities to make it convincing. Again there were interesting elements of (trio) partner work, but it was difficult to savour, as the movement was on the relentless side.

Closing the first half was In Absence by Ashley Dean (The Royal Ballet). Made up of a duo followed by a dance for four, the overriding feeling is one of current, predictable, contemporary dance. Slides, pulls, counterbalance etc executed in near darkness, full of angst for no apparent reason. That said, the material features good use of dynamics and clear phrasing. Yet doesn't make an impact in its entirety.

Opening the second half is Mpho by Tumelo Lekana (Joburg Ballet). It's an interesting work that uses voice and live music by Peter Mpho Mothiba to conjure the life source that is South African culture. This is also felt in the attire, objects and percussive, rhythmical nature of the movement language. The work features three women in pointe shoes, yet somehow the inclusion of this western tradition feels more jarring than cohesive. I don't believe the specific footwear brings any addition to the movement language.

Next is Capriccio by Kit Holder (Birmingham Royal Ballet) featuring dancers from Acosta Danza. It's an intriguing duo for two men who initially find themselves intertwined with material, before releasing and exploring the space. It's definitely on the athletic side of contemporary dance, but the male relationship and simple physicality of the choreography is worth a watch. 

The penultimate work is Pages by Cina Espejord (Norwegian National Ballet). It's a sophisticated piece that uses the sound of a page turning to begin each new vignette. These switch between adagio and allegro, and consist of somewhat persistent, wishy washy language. It lacks form, and balance within the phrasing, and when the female dancer starts singing at the end it feels awkward. Josh Nagaoka is a fine dancer indeed though. Lushness abounds. 

Closing the evening is Almost Human by Marcelino Sambe (The Royal Ballet). It's a busy piece with barely there clothing and dark theatricality. The first duo is Adam and Eve-informed, even including an apple, and later a second woman arrives offering more of the same. What's that? Nymph-like female, Apollo-esque male, who rough and tumble with heavy, sexual overtones. It's all executed beautifully by stunning dancers - but the content is largely playing safe, gender predictable and borrowing heavily from the New York City masters.

This review will seem negative, but I'm simply sharing what I saw. Which isn't fact after all - it's opinion. But considering the evening was introduced as a vehicle for exploration and bravery - I don't feel I really saw any. And that's a shame. For the audience and the art form.

International Draft Works 2025 runs from until 18 April 2026 at the Royal Ballet and Opera 

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