Sadler’s Wells Theatre, London.
5 May 2026.
Sadler’s Wells is one of the UK’s premier dance theatres, synonymous with high-class ballets, top-end dance companies and emerging classical talent, which makes it even more humours that the Les Ballets Trockadero de Monte Carlo performed there.
Currently touring the UK as part of its 50th anniversary, this show hits the sweet spot between classical dance and humour, a subgenre rarely performed. I jest about it being out of place at a high-class, prestigious venue that normally hosts narrative-driven, well-polished performances; this show is that, but gone wrong in all the right ways.
The audience is immediately disarmed and made to laugh as they take their seats to a voice-over playing. Now, a voice-over asking patrons to make sure phones are switched off is not new; however, this compere managed to strike the perfect balance of information and wit. Sharing that Natasha NotGoodEnough was not performing, and that there were two intermissions, one after the dying swan, purely to clean up the mess.
Les Ballets Trockadero de Monte Carlo is for ballet lovers and sceptics alike. Showcase high virtuoso dance, which skews gender, incorporates drag and clowning and delivers iconic moments from well-known ballets in a three-act, two-hour show (or thereabouts).
Opening the barrel of laughs is Swan Lake, Act II, Le Lac Des Cygnes. The familiar music and staging are soon distorted as the dancers perform a tongue-in-cheek portrayal of the instantly recognisable classic.
From perfectly placed footwork that soon developed into laboured (comedically) motifs to swan characteristics, with the corps de ballet looking more like a gaggle of pigeons than elegant swans, the piece set the tone for what was going to be an unorthodox night at the ballet.
If almost easing the audience in with more traditional ballets, Peter Gwiazda dancing Maya Thickenthighya with Raydel Caceres as Mikhail Mudkin in Le Corsaire followed.
A dynamic duet with a narcissistic and indulgent portrayal by Raydel, stopping mid-sequence to admire his muscles, which was equally matched by prima donna Peter, who is not shy of the spotlight and gagging for a perfect performance.
Act two saw a highlight for me: the UK premiere of naughty neoclassical Metal Garden by Séan Curran. Somehow, the choreography managed to hit the Goldilocks Zone of whimsy and artistry. In slightly unkept wigs and starting with a bobblehead motif, the piece had the audience chuckling from the very first skip.
Blending contemporary dance, hitting curves and lines, and living in deep plies, the choreography shifted from group patterns to solos and duets. Threading the needle of dancers, finding the negative space to fit through the holes created by their dance partner, the duets developed longer than they should, which was highlighted through comedy and exhausted movements.
Olga Supphozova (Robert Carter)’s Dywing Swan literally died on stage, but rose from beyond for a luxurious révérence. The tutu alone deserved a bow with the incredibly impressive level of feathers that continued to fall from the plush white mesh. If RuPaul did a ballet solo, this was it. This dramatic, talented, and attention-seeking performance, as referred to in the earlier voice-over, did require some cleanup afterwards.
The show is wrapped up with a glorious performance of Paquita, and what a spectacle it is. Leaning more into the feminine qualities of the dancers, the sliding scale of masculine to feminine energy and quality was well and truly worn by the end of the show, with the company of 14 dancers pulling the best repertoire and steps from both back catalogues.
Paquita gave each dancer a moment to shine, and at times I felt bad about laughing at the slapstick moments, as these dancers, hairy chests and all, were working incredibly hard to make it look easy. True athletes on stage, with many members easily giving ballerinas a run for their tutus.
If you want a full-staged ballet with rich, detailed scenery and props, and a timeless tale that fits a traditional two-act format, this might not be the show for you. But I pose this to you: Why would you not want a great night out, with outlandish and talented dancers, guaranteed laughter, whether it be from the cast breaking the fourth wall with cheeky glances and waves, or the more slapstick dropping of dancers?
With the show touring UK venues until the end of June, Les Ballets Trockadero de Monte Carlo is a show for everyone.
By Jamie Body of Dance Informa.
