Inside BRB2: In conversation with Kit Holder

Guiding the transition into professional life

We have now welcomed our fourth cohort of BRB2 to the company; each autumn a new group of dancers joins us straight out of training. It is a huge shift, not just artistically but personally.

This season the new dancers stepped straight into Black Sabbath – The Ballet, followed by the intensity of The Nutcracker. They are learning choreography at speed, but they are also earning money for the first time, often living independently for the first time, and figuring out how the Company works. There is enough pressure in this career already, so in those early months I try to be there to provide not only technical support but also professional guidance.

During major company runs, BRB2-specific activity is lighter, as the dancers are busy performing in full-company productions. I keep an eye on them, make sure they are coping well, and help them navigate the practical side of the profession, from accessing archive videos to understanding how to prepare properly and ask the right questions. It is about letting them settle and understand what being a professional dancer really means.

The vision behind BRB2

The dancers who join BRB2 are already incredibly good. We are not bringing them up to professional standard. They are already there. What we are doing is helping them reach their potential and showing them how to build a sustainable career.

For me, success is long term. When we first set up BRB2, we asked how we would measure it. The answer was simple. Are the dancers working well? Are they happy? Are they healthy? Do they look back on their two years here and value that time?

Whether they stay with Birmingham Royal Ballet, move to dance elsewhere, or even change direction entirely, I want them to leave as strong professionals. If you are a good professional, you will be a good dancer. Those skills are transferable to anything.

Nurturing growth in the studio

I think a lot about the atmosphere in rehearsals. I do not spoon-feed. The dancers come in having done their homework, and we refine things together. I try to give them responsibility and encourage them to think for themselves.

At the same time, it is important that they feel safe enough to make mistakes. We aim for very high standards, but nobody leaves school fully formed. Even principals do not get everything right straight away. You just do not see the private work that goes into that.

With something like the Firebird pas de deux, I will spend much more time exploring nuance and detail than I would with a seasoned principal. Technically they can all do it. The challenge is stylistic maturity and understanding how a step should be delivered, not just executed. That is where the real development happens.

Rehearsing for the upcoming tour

This year we’re touring the same Fokine-themed programme as last season, but to new venues. It’s been a real pleasure revisiting the work.

Last year, we were fortunate to work with Isabelle Fokine, Michel Fokine’s granddaughter, which gave us invaluable insight into the style and intention behind the choreography. I’ve still got a notebook full of her advice. Being able to pass that on to this year’s cohort – and to dancers taking on new roles – is incredibly rewarding.

The dancers are already looking close to performance standard, and we still have time to refine. What’s exciting is seeing them adapt their training to a different style. We know they can do the steps; the question is, can they do them in this style? That shift in nuance makes a huge difference to how the work reads from the audience.

What audiences can expect from the tour

This programme is a strong showcase for the dancers and a genuinely exciting evening of ballet.

The first half features Les Sylphides, lyrical and beautifully classical, with long tutus and flowing musicality. It is often described as serene, but there is something deeply thrilling about its precision and atmosphere.

The second half offers contrast. The Scheherazade pas de deux is dramatic and intense. Le Spectre de la rose is a true showpiece for the male dancer, virtuosic and physically demanding, yet delicate in its characterisation. Les Biches brings something lighter and more playful, with moments that feel recognisably human and accessible.

The evening closes with the Firebird pas de deux, technically demanding and musically powerful, rounding off the programme with real impact.

It is an evening full of contrast, style and energy. For the dancers, it is an opportunity to be stretched and showcased. For audiences, it is a chance to see remarkable young artists at the beginning of their careers and to experience the future of ballet in motion.

Don't miss this incredible production!