Mason
Being part of BRB2 gave me the rare opportunity, early in my career, to perform major pas de deux like Swan Lake Act I pas de deux and Diana and Actaeon, as well as solos and group works – opportunities you wouldn’t usually get in your first years in a main company, where you’re often further back in the corps de ballet. That experience was a huge turning point for me, especially in developing my partnering, which is something that comes more naturally to me.
Through BRB2, I was able to really show what I could do, and that directly opened doors within the main Company. In my second year of BRB2, I performed as one of the four princes in the Rose Adage scene of The Sleeping Beauty with Céline Gittens, which led to performing it regularly, and later to opportunities like the The Sleeping Beauty Awakening pas de deux for a gala.
In my third season with BRB, and my first as an Artist of the main Company, I was given the opportunity to debut as the Prince in David Bintley’s Cinderella. Unfortunately, I got injured after my stage call and never had the chance to perform. However, in a twist of fate, things turned out far better than I could have imagined this season, as I was given roles such as the Prince in The Nutcracker and Basilio in Don Quixote.
I genuinely believe that without BRB2, I wouldn’t be where I am today, as it allowed the directors to see me handle pressure and deliver Principal-level work on stage. It’s also such an important bridge between training and professional life; you continue working intensively on pas de deux, which can otherwise disappear when you join a company. The dedicated coaching, performance experience, and close connection to the main Company – sharing studios, dressing rooms, and stages – make it a unique and invaluable stepping stone, not just technically but as a support system during that transition.
Frieda
My time in BRB2 was incredibly valuable, particularly in building partnerships and gaining that first experience of performing Principal pas de deux on stage. Even when you don’t feel fully ready, you learn to make it work, and that process – pushing through uncertainty, trusting yourself, and feeling the trust from the staff – is what makes it so transformative.
There were moments where it felt overwhelming, but that challenge builds resilience, adaptability, and a kind of ‘survival mode’ that ultimately strengthens you as a dancer. Touring to smaller theatres and performing in different conditions also adds to that experience, and it’s all part of growing.
A huge part of BRB2 was the emphasis on partnering and working closely with peers, whether developing existing partnerships or stepping out of your comfort zone to dance with new people. Now, I can really feel the impact of that in my work: I’m able to focus not just on the steps, but on professionalism, connection, and the human side of performing.
The Company has pushed me and given me incredible opportunities, such as performing the role of Mercedes in Carlos Acosta’s Don Quixote this season. I look back on BRB2 as a truly meaningful stepping stone that I’m very grateful for. It gave me so much, and I have many great memories of that time, especially performing a wide range of repertoire in the programme, Carlos Acosta’s Classical Selection.
Tom
I really enjoyed BRB2 because it gave us the opportunity to perform a wide range of work, from new creations like Will Tuckett’s Mirrored to classical repertory and Carlos Acosta’s works, while being coached and inspired by him directly. Having Carlos come into rehearsals and explain the context behind pieces like Diana and Actaeon was incredibly valuable and gave a completely different perspective on character and storytelling. It was also a great introduction to company life: dancing alongside the main company, learning how to manage touring, and experiencing that transition from training into a professional environment.
BRB2 provided a real sense of purpose, especially during busy seasons. In my first year, performing The Sleeping Beauty 42 times, it was motivating to have something else to work towards, adding variety and focus to our days. The programme was especially important for developing partnering and versatility – moving between very different styles and characters, such as from La Sylphide to A Buenos Aires in my first year, and from Les Sylphides to Le Spectre de la rose in my second. It gave me a strong technical and artistic foundation that I now rely on in the main Company.
In my second season of BRB2, I was given the opportunity to perform Alain in the main Company’s tour of La Fille mal gardée. Since then, and in my first season as an Artist with the main Company, I’ve taken on new roles like Harlequin, Jack in the Box and Consorts in The Nutcracker and Amor in Don Quixote, which have been both challenging and rewarding.
I don’t think I’d be in this position without those two years. BRB2 gave management the chance to see what I was capable of, while also building my confidence through solo work and character development.
Alexandra
BRB2 was an amazing experience, especially having the opportunity to perform Principal roles at such an early stage in my career – it gives you real exposure and a sense of the level of responsibility and commitment needed to progress within the main Company. It also makes the transition into company life much less daunting, as you join alongside a group of peers and build those connections early on.
The repertory we performed in my final season, in the programme Carlos Acosta’s Ballet Celebration, was incredibly valuable, not only because it included works I had never done before and that aren’t performed so often nowadays, but also steps and stylistic nuances you rarely do or practice in daily ballet class. This really pushed me artistically in new ways.
Moving into the main Company has felt like a natural progression since BRB2 works so closely alongside it, but it’s been exciting to take on more responsibility this season by covering soloist roles such as the Snow Fairy in The Nutcracker and Queen of the Dryads in Don Quixote. I’ve also had the opportunity to perform the Summer Fairy in David Bintley’s Cinderella and the solo Ozzy’s Head in Black Sabbath – The Ballet, which were incredible experiences. Being able to take the skills and experience from BRB2 and apply them on a larger stage has been a highly rewarding challenge.
Don’t Miss BRB2: Carlos Acosta’s Ballet Celebration coming to New Theatre, Peterborough this May!
