TUTU by Chicos Mambos, choreographed by Philippe Lafeuille, returns to Sadler’s Wells for yet another season, clearly enjoying continued success with audiences drawn to its playful take on dance tradition. The 80‑minute, interval‑free production presents itself as a light‑hearted parody, beginning with the striking image of male dancers in pink tutus and expanding into a fast‑paced exploration of numerous genres.
Moving from classical ballet, complete with pointe work, pas de deux and a knowingly exaggerated “Little Swans”, to tango, ballroom, contemporary dance and rhythmic gymnastics, the show operates as a collage of references. An ensemble of six dancers remains in near‑constant motion, demonstrating versatility across styles on an otherwise minimal stage. Lighting is used selectively, though the primary focus remains firmly on physicality and transformation.
Some sections are genuinely witty and well judged. The “Little Swans” sequence and a pointe solo balance technical skill with affectionate irony, gently poking fun at ballet’s seriousness without undermining its status. A ballroom dance contest segment is similarly sharp; character work here highlights both the elegance and the theatrical excess of competitive dance culture. In these moments, parody feels rooted in understanding as much as humour.
In other sections, the balance leans more towards broad physical comedy. While these moments maintain the show’s energetic pace, they are not always as layered or memorable. When the satire sharpens, the tone can feel less nuanced, leaning into exaggeration. Acting through mime and gesture tips into overstatement, which makes certain sections feel more laboured than playful.
The musical choices contribute to this unevenness. While some transitions support the stylistic shifts effectively, other selections feel less cohesive and disrupt the overall flow. Audience response reflected this tonal contrast: children in the auditorium reacted with open laughter to the more exaggerated segments, while many adults remained noticeably still. Overall, some clearly found the tone and style of the show more engaging than others, breaking into applause, whistling and calling out to certain acts.
At its strongest, TUTU is energetic, technically accomplished and self‑aware in its irony, showcasing the performers’ range and challenging the seriousness of many dance forms. Although the impact varies across segments, the evening offers enough inventiveness and skill to remain an enjoyable and in‑demand production at Sadler’s Wells.
Listings and ticket information can be found here
