'The Seasons' reviews 'Penquin Cafe' reviews recent BRB reviews

Like the Opera House, much of the money, £70M, has been spent on back-of-house facilities and I look to write about these another time. Also like Covent Garden, the auditorium remains much the same, although repainted and reupholstered.

Front of house and the lobby looks much more modern. To my eye the design seems to wander at times rather than appear as a coherent vision that I think comes across from the rebuilt Saddler's Wells and Opera House. Sadly the Hippodrome house management 'lowered the tone' by suspending in the main stairwell a massive and very naff silver bell, complete with day-glo signage advertising the up-and-coming panto - Dick Whittington. The public space design may not be award-winning distinguished but I reckon they deserve better than to be treated like sale time at B&Q.

I was sitting next to a semi-regular - not a fan particularly - but somebody who sees a few things each year or two. They really enthused about Bintley and the 'ballet being open to all' message. Although I'm an outsider, I dearly love the Birmingham audience - the way all social groups muck in together and are there for love of dance. When the Government talks of access the reality I'm sure it has in its mind is Birmingham, though I doubt many have seen it in practice. How many people in London would know the name of the Director of their ballet company I pondered?

Although there is much goodwill for Birmingham and at last it has its new house and facilities, the company is having a tough time financially. The re-opening was late and they have found life without a home has meant that box office has been lower. Over the last 6 years they have been doing much new work each season, including new full-length works, and also looking to establish themselves in the USA. Well now they have to cut to their cloth for 2 or 3 years. It happens and should come as no surprise - all the ballet companies in the last 10 years have been stretched at times and it's a reflection of just how close to the margin most companies normally run.

The gala felt a bit like the reunion of an extended family and Bintley responded by coming out front and giving some background to pdd and programme fragments in the middle section of the Gala. He does it well and the audience lapped it up. As galas go though I was a bit surprised that everything was by Bintley and would have preferred to see the odd bit of Petipa and other gala nuggets. But the first piece - The Seasons - only recently premiered by the company has Bintley in classical mood and the last piece - Still Life at the Penguin Cafe, cheers people while delivering a thought-provoking message. I'm not sure it was a gala night but it was a good night for Birmingham and a good night for the company. May I be lucky enough to share many more with them.