Review: Still Pointless: BalletBoyz at 25 (Sadler’s Wells)

Review by Sam Woodward

⭐️⭐️⭐️⭐️

It is safe to say that, at the inception of BalletBoyz a quarter of a century ago, I was not especially interested in ballet, let alone theatre, given that I was only a baby. Twenty-five years later, however, it is easy to see why Michael Nunn and William Trevitt’s journey of creation, collaboration and reinvention continues to matter. Through an evening of laughter, film, exquisite ballet and music, BalletBoyz combine a range of dance pieces and styles into a cohesive celebration of their legacy. The question remains whether their show is, in their own words, Still Pointless, or whether the point is sharper than ever 25 years on.

In 2001, Michael Nunn and William Trevitt presented their critically acclaimed debut performance, Pointless, at the Roundhouse. Over the following 25 years, BalletBoyz have danced, created, choreographed and collaborated with countless artists across the world. Their passion is obvious, and so is their charm. Still commissioning and producing high-quality, world-class work, BalletBoyz and their ten principal dancers provide an ambitious and thought-provoking evening of ballet, showcasing the energy and individuality of the whole company. What makes this evening special is not just the dancing, which is elegant and precise, but the use of film across the production. These documentary sequences reach across the company’s history, offering behind-the-scenes glimpses of dancers, choreographers, rehearsals and stages, while also giving an unusually candid insight into the company’s attitude towards its art form.

The evening begins with a humorous opening that initially feels like an error, as Nunn and Trevitt are heard backstage discussing what their opening lines should be. It immediately establishes one of the company’s most appealing qualities: BalletBoyz do not take themselves too seriously, but they take the work very seriously indeed. Even the admission that the film breaks often allows for a quick change of costume or a moment of respite for the dancers, puncturing any sense of pretension that can sometimes surround ballet. The audience is quickly at ease, watching 25-year-old footage of rehearsals at the Roundhouse before the mood shifts into the striking silence of Critical Mass, first performed in 1998. It is the only piece in the evening to bring Nunn and Trevitt themselves back onto the stage, and as the music gathers speed and the pair move with effortless clarity, they prove that they have still got it. They also prove that you do not need a pointe shoe to make a point.

With an appealing casualness, the evening moves between live performance and documentary film, and the range of work on display is impressive. From Motor Cortex, a brand-new piece by company dancer Seirian Griffiths, to works dating back over a decade, there is never a dull moment, even if some dances may grip some audience members more than others. One personal highlight is Ripple, choreographed by Xie Xin in 2020, which draws on the movement of different bodies of water. The dancers move with continuous flow and energy, creating a sense of momentum that evoked gasps from the audience. Across the evening, there is rarely a step out of time, and the ability to present such a range of styles while allowing different dancers to come into focus makes the production feel like a true company effort. During Young Men, in which Benji Knapper moves with an almost brutal charge, the audience around me were in tears. This emotional breadth continues throughout the evening, moving from laughter to tears in a triumph of storytelling.

By bringing together different choreographers, directors Nunn and Trevitt have seamlessly intertwined what could otherwise have been jarringly different creative pieces. The programme moves through war, destruction, death, masculinity, relationships, memory and truth, yet there is no drop in energy and no sense that the evening is simply ticking through past achievements. The set is simple, relying on screens, curtains and open space, which allows the dancers to remain the focus. The lighting, however, is a triumph. Designed by Andrew Ellis, with some original lighting design also credited across the programme to Michael Hulls, James Farncombe and Jackie Shemesh, it does far more than illuminate the dancers. It gives each piece its own atmosphere, whether suggesting rippling water, a stark white box or the shadowed colours of conflict. At its best, the lighting becomes part of the choreography itself, adding another dynamic layer to the show.

The costumes are equally impressive, fitting seamlessly with the choreography and the stories being told. Katherine Watt’s designs are simple, yet beautifully constructed, making use of colour, contour and flow without distracting from the bodies in motion. From sharp suits and pink shirts to loose blue tops and pared-back rehearsal wear, the costumes sit naturally within the world of each piece. They work in tandem with the choreography and lighting to create a production that feels carefully composed without ever becoming overdesigned. The production overall works with real elegance, and it is a testament to the many creatives involved that the evening feels so polished, varied and full of life.

The final piece, Fiction, choreographed by Javier de Frutos, is the perfect end to this night of dance, exploring an imaginary scenario where the choreographer dies before the premiere of his latest work. Through repetition, rewind and an impressive voiceover by Imelda Staunton and Jim Carter, this piece showcases not only the effortless, rhythmic and entertaining style of Kai Tomioka’s dancing, but how ballet, music, speech and choreography can work together in a delicate balance. It is moving, witty and beautifully judged.

Still Pointless today remains anything but pointless. By moving away from the traditional image of ballet as pointe shoes, leotards and rigid formality, BalletBoyz continue to show how exciting, contemporary and emotionally direct the art form can be. Their work has helped promote and destigmatise male-presenting ballet dancers, and this anniversary evening feels as much like a celebration of that legacy as it does a look towards the future. As Nunn and Trevitt consider what the next 25 years might hold as they continue to shape the next generation of dancers in their Kingston upon Thames studio, they should be proud of the evening they have created: retrospective, generous, moving and full of spectacle.

Still Pointless: BalletBoyz at 25 plays at Sadler’s Wells until 16 May, before embarking on a UK tour. Tickets from balletboyz.com/booknow 

Photos by Amber Hunt