After a 25-year wait, BalletBoyz: Still Pointless returns to the stage as a vibrant celebration of a quarter-century filled with diverse composers, renowned choreographers, and brilliant dancers. Dance, as a form of expression, is continually pushed to its limits by BalletBoyz, who create singular moments of artistry that burst with the energy of a big bang.
BalletBoyz: Still Pointless showcases some of the company’s most memorable work from the past 25 years, using video footage that serves as a time capsule highlighting their collaborations with a wide array of choreographers, each bringing fresh and exciting ideas to the stage. Rather than following a traditional dramatic arc, the show presents a series of distinctive pieces, all connected by the video art that documents their creative journey.
The show opens with an introduction that traces how it all began, making it truly exciting to feel as though you are stepping into a genuine success story from its earliest days.
The first piece features Michael Nunn and William Trevitt, the founding fathers of BalletBoyz, performing the very dance they did 25 years ago at the Roundhouse. The piece is choreographed by Russell Maliphant.
The evening’s only world premiere, Motor Cortex by choreographer Serian Griffiths, brilliantly utilises technology to bring the dance to life through innovative storytelling. This is where BalletBoyz truly excels, understanding that dance is elevated when supported by stagecraft, lighting, video art, and the presence of a live audience.
Some pieces stood out more than others. Young Men was incredibly intricate and sensual, boldly delving into political themes. Iván Pérez’s work reimagines the human body, assembling it in new and compelling ways, with powerful dancers and an emotional intensity that keeps the audience captivated.
In one of the videos, a choreographer suggests that the main job of a choreographer is to make their dancers the best in the world.
I believe the most important quality a choreographer must possess is an understanding of human autonomy and how it can be transformed, how muscles and movement can flow through space, how touch and gesture evoke emotion, and how the body can become a powerful storyteller, expressing defiance, anger, or tenderness through movement.
Liam Scarlett’s work draws on classical anatomy, while Maxine Doyle introduces a classical American musical style with a fresh twist. Christopher Wheeldon brings simplicity and redemption to his choreography, proving that even a touch of the fingers can create a tidal wave of emotion. Fiction by Javier De Frutos (which, in my opinion, would have been a fantastic opener) employs spoken word, repetition, and orchestrated chaos to great effect.
BalletBoyz: Still Pointless kept me thoroughly entertained, though it may not be for everyone. At times, the showcase feels somewhat disjointed, with pieces that don’t always connect fluidly. Rather than a celebration of dance alone, it is a tribute to choreography and the dedication required to turn movement into art.
Each choreographer understands that dance thrives on sensuality, fluidity, and an almost electric energy within the body. Lights, fog, video art, and music are not mere additions to the pieces but are integral elements, one cannot exist without the other. The compositions are complex and intriguing, though at times the repetition feels less impactful, and the thematic through-line of the show didn’t always resonate with me.
BalletBoyz: Still Pointless celebrates the boundless potential of dance, brought to life by a group of young men brimming with passion, dreams, and an infectious eagerness to share their art.
Listings and ticket information can be found here
