BRB2: Alexandra Manuel on performing The Firebird pas de deux

The Firebird pas de deux was probably one of the most challenging pieces I’ve performed so far. It demands a huge amount technically, with constant jumps and fast, intricate turns. What makes it even more demanding, though, is the highly specific style. Every movement has a particular quality, so you’re not just executing steps, you’re embodying a very distinct language and character throughout.

We were really fortunate to work with Isabelle Fokine, who came in to coach us for the 2025 tour of Carlos Acosta’s Ballet Celebration. She really pushed us to understand exactly what she wanted, but more importantly what her grandfather, choreographer Michel Fokine, originally intended. That insight made a huge difference. It grounded the work in its history and gave it a real sense of authenticity.

Structurally, the piece is quite intense. It’s made up of three entrances, a solo followed by a pas de deux, and it runs for around ten minutes, which is a long time at that level of intensity. It requires a lot of stamina, both physically and mentally. For me, it became a real test of endurance and one of the first times I truly had to dig deep just to get through it.

What I found particularly challenging was the character itself. The Firebird is so frantic, almost electric, with a constant sense of alertness and wide, expressive eyes. It’s exhausting in a completely different way because you’re sustaining that heightened state while also thinking about all the technical details, from your feet to your turnout and coordination. There is so much happening at once.

But ultimately, it was an incredibly rewarding experience. The Firebird is such an iconic ballet, yet it isn’t performed that often, so having the opportunity to perform it so early in my career felt very special. It pushed me both physically and artistically, and is a piece that will stay with me.