London -This autumn, the Birmingham Royal Ballet (BRB) presents Luna, a breathtaking new ballet that concludes Carlos Acosta’s acclaimed Birmingham Trilogy. Following the success of City of a Thousand Trades and Black Sabbath – The Ballet, Luna stands out as a celebration of Birmingham’s pioneering women, with a narrative rooted in themes of empowerment, resilience, and transformation. Inspired by Louise Palfreyman’s book, Once Upon a Time in Birmingham: Women Who Dare to Dream, this two-act, abstract ballet offers an homage to the women who have shaped the cultural and social fabric of Birmingham.
The production’s power lies in its all-female, international creative team, reflecting the very themes the ballet seeks to explore. Choreographers Iratxe Ansa, Wubkje Kuindersma, Seeta Patel, Arielle Smith, and Thais Suárez each bring their unique styles to Luna, creating a visually stunning and thematically rich performance. Complemented by the evocative score of Kate Whitley, Luna unfolds in six distinct movements, each scene delving into contemporary and universal ideas: from the roles of matriarchs and the importance of education to family dynamics, empowerment, and overcoming challenges.
Act 1 – A Journey of Growth and Adversity
The first act begins with Scene 1, “Terra,” choreographed by Wubkje Kuindersma, setting a contemplative tone. Sixteen dancers, paired into eight couples, are joined by a Children’s Choir, Soprano Marianna Hovanisyan, and Bass Themba Mvula. Using the moon as a potent metaphor for the cycle of life, this scene emphasizes our collective responsibility to nurture and educate future generations. Kate Whitley’s composition elevates the movement, reinforcing the ballet’s emphasis on interconnectedness and environmental stewardship.
Scene 2, “Enlightenment,” choreographed by Seeta Patel, shifts focus to education’s transformative power. With five female dancers and a backdrop of animations created by local schoolchildren, this segment captures the theme of “Girls Daring to Dream Big.” Whitley’s newly commissioned score adds a sense of hope and possibility, reflecting how knowledge can open doors and challenge societal limitations.
The act concludes with Scene 3, “Overcoming Adversity,” choreographed by Thais Suárez. A poignant pas de deux set to an orchestral arrangement of Faure’s Requiem, it explores how Birmingham’s women have found strength through adversity, transforming their struggles into sources of inspiration. This section beautifully underscores the resilience and spirit of Birmingham, likening the city’s ability to regenerate itself to the courage of its women.
Act 2 – Celebrating Empowerment and Unity
The second act begins with Scene 1, “Empowerment / Daring Together,” choreographed by Arielle Smith. Starting with a lone dancer, the scene crescendos as seven more women join her, creating a powerful image of unity and collective strength. The music, featuring Whitley’s There is Silence and Autumn Songs, swells alongside the choreography, capturing the joy and solidarity of women supporting each other.
Scene 2, “Overexposed,” by Iratxe Ansa, brings a dramatic shift in tone. It highlights the struggles of female oppression through the interplay of eight male dancers and one female dancer. This scene confronts the challenges women face and the barriers they’ve broken through, drawing inspiration from the stories in Palfreyman’s book. The choreography is raw and intense, a sharp contrast to the more hopeful scenes, emphasizing the triumphs women have achieved despite the weight of adversity.
The final scene, “Luna,” returns to the symbolic power of the moon. Choreographed once again by Kuindersma, it unites the full cast in a visually striking conclusion. The Children’s Choir returns, performing Whitley’s I Am I Say alongside Hovanisyan and Mvula, while the choreography symbolizes women’s ongoing journey to reach for the stars. The scene’s lyrical movements and uplifting score suggest a sense of unity across generations, capturing the theme of aspiration and progress.
A Ballet for Today
Luna is not merely a ballet; it’s a tribute to the resilience and spirit of women, both in Birmingham and beyond. The creative team’s decision to use a non-linear, abstract approach allows for a rich, layered exploration of its themes without sacrificing emotional impact. The lighting design by Emma Jones, costume design by Imaan Ashraf, and projection design by Hayley Egan work in harmony to create a visually immersive experience that adds to the narrative without overwhelming it.
From the Children’s Choir’s enchanting voices to the ensemble’s intricate choreography, every element of Luna serves to remind the audience of the ongoing journey toward equality, the importance of empowerment, and the unbreakable bonds that women share. This ballet captures both the struggles and the victories, offering an inspiring and visually stunning finale to Carlos Acosta’s Birmingham Trilogy.
Luna premiered at the Birmingham Hippodrome in early October and continues to captivate audiences with its upcoming performances at Sadler’s Wells in London. The production is a testament to the creative power of women and a fitting tribute to a city that has been shaped by their contributions. Whether you’re a ballet enthusiast or someone eager to see stories of strength and transformation brought to life, Luna is a performance that should not be missed.
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