Still Pointless: BalletBoyz at 25 ★★★★★

It’s been 25 years since BalletBoyz‘ critically acclaimed debut Pointless was staged at the Roundhouse in London. Founded by two former Royal Ballet dancers, Michael Nunn and William Trevitt, the innovative and ambitious dance company has worked with names such as Russell Maliphant, Christopher Wheeldon and Javier de Frutos. They describe it as “an epic journey of creation and collaboration, with both triumphs and disasters.” Still Pointless celebrates some of their best moments, a sort of greatest hits of the last quarter of a century.

The original BalletBoyz Nunn and Trevitt open with an excerpt from Critical Mass, Russell Maliphant’s seminal work, which they performed in 2001 in their inaugural show. Hard to believe they are, in their own words, well into their 50s. This study of male intimacy sets the bar (or should that be ‘barre’) high. As a precursor, video footage shows how they learnt the choreography from a VHS tape, part of the de-mystifying that BalletBoyz are keen to share with their audience. What makes this showcase unique is the use of film, which has a dual purpose, allowing time for a change of costume, but also giving the background context of rehearsal scenes. All this makes for an enchanting, humorous and seamless narrative.

Eight pieces are performed by ten world-class dancers, and the range of work is remarkable. Us, created by Christopher Wheeldon, is flawlessly performed by Paris Fitzpatrick and Dylan Jones, their bodies interlocking and counterbalancing. This spellbinding duet set to a score by Keaton Henson apparently has a meaning, but Wheeldon has never disclosed what it is, leaving it open to interpretation.

Nunn and Trevitt have always been determined to explore different dynamics in dance and for their 20th anniversary, they asked two female choreographers to work with them : their compositions Ripple by Xie Xin and Bradley 4:18 by Maxine Doyle appear here. In Ripple, the dancers bend in flowing circles, reflecting each other’s movements in subtly mimicking the motion of different bodies of water, accompanied by Jiang Shaofeng’s score. By contrast, Bradley 4:18 is sharp, punchy and disturbing. Inspired by a song and poem by Kae Tempest, and danced to Cassie Kinoshi’s jazz, six dancers in identical suits embody different aspects of a man’s personality, with Benji Knapper and Luigi Nardone’s duet especially entrancing.

The lighting design by Andrew Ellis, James Farncombe and Michael Hulls is faultless, befitting for each piece, illuminating the dancers perfectly. The set of open spaces is simple, but this only serves to focus more on the astonishing performances. Katherine Watt’s varied costumes complement each piece, from flowing blue shirts to tailored suits to rehearsal dancewear.

Still Pointless is a glorious reminder of why BalletBoyz remain at the forefront of contemporary dance with their creativity and signature humour. Each piece is exhilarating, all so different, but all united by the company’s passion, inventiveness and discerning eye for beautiful dance.