Birmingham Royal Ballet
A major British ballet company based in Birmingham, known for classical repertory, touring productions, and dance education.
Last updated August 22, 2026
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Overview
Birmingham Royal Ballet (BRB) is one of the United Kingdom’s principal ballet companies and a prominent performing-arts institution based in Birmingham, England. Its history reaches back to the institutional network created by Irish-born dancer, teacher, and choreographer Ninette de Valois and theatrical producer Lilian Baylis. That network produced the predecessors of both The Royal Ballet in London and Birmingham Royal Ballet. BRB’s immediate predecessor was Sadler’s Wells Theatre Ballet, established in 1946 as a sister company to the company that moved from Sadler’s Wells to the newly reopened Royal Opera House in Covent Garden and later became The Royal Ballet. The company was initially formed to maintain a resident and touring ballet presence connected with Sadler’s Wells. John Field became its first artistic director. Over the following decades, the organization developed a broad repertory and toured extensively in the United Kingdom and overseas. In 1956, a royal charter was granted to the two ballet companies and the associated school. The company was then formally known as Sadler’s Wells Royal Ballet, a name it retained for much of the second half of the twentieth century. Sadler’s Wells Royal Ballet returned to Sadler’s Wells Theatre in 1970 while continuing its national touring role. Its eventual move away from London was signaled in 1987, when Birmingham Hippodrome invited it to become the city’s resident ballet company. The relocation took place in 1990, and the company adopted the name Birmingham Royal Ballet. Birmingham became the organization’s operational base and gave it a major role in the cultural life of England’s second city. When performing locally, it uses the Birmingham Hippodrome stage and operates from purpose-built facilities that include dance studios, the Jerwood Centre for the Prevention and Treatment of Dance Injuries, and the Patrick Centre studio theatre. Sir Peter Wright served as artistic director from 1977 until his retirement in 1995. He was succeeded by David Bintley, whose tenure continued the company’s development as a Birmingham-based national institution. A major governance change followed in 1997, when Birmingham Royal Ballet became independent of The Royal Ballet and ceased to be managed by the Royal Opera House. This formalized its separate institutional identity while preserving its historical relationship with the wider Royal Ballet tradition. BRB’s core activity is the presentation of full-length classical ballets, mixed repertory, new choreography, educational work, and performances on tour. Its artistic model combines the preservation of established ballet works with the commissioning and presentation of contemporary productions. The company is also supported by artistic, executive, musical, technical, medical, and educational functions, reflecting the complex operational requirements of a large ballet organization. Its facilities and injury-prevention services support both performance preparation and dancer welfare. In 2019, BRB announced that Cuban-born dancer and choreographer Carlos Acosta would succeed David Bintley as artistic director, taking up the role in January 2020. Acosta’s appointment connected the company’s established classical tradition with an internationally recognized performer and artistic leader. The company’s listed leadership also includes music director Paul Murphy and chief executive Caroline Millar. BRB remains an active touring and producing organization, with Birmingham as its principal base and the United Kingdom as its central performance market.
History
Birmingham Royal Ballet forms part of the British ballet tradition created through the work of Ninette de Valois and Lilian Baylis. In 1926, de Valois established the Academy of Choreographic Art with the long-term goal of building both a professional repertory company and a school. Through her collaboration with Baylis, who controlled the Old Vic and Sadler’s Wells theatres, dance performances were developed at both venues. The Sadler’s Wells and Old Vic network eventually produced the organizations that became The Royal Ballet, Birmingham Royal Ballet, and the Royal Ballet School. Sadler’s Wells reopened in 1931, and the Vic-Wells Ballet and Vic-Wells Ballet School were established there. The company lost its direct connection with the Old Vic in 1939, and the bombing of Sadler’s Wells during the Second World War in 1940 forced the dancers to tour around the country. During this period the organization became known as the Sadler’s Wells Ballet. It later returned to Sadler’s Wells Theatre, but a major institutional division occurred in 1946 when the company was invited to become the resident ballet company of the newly reopened Royal Opera House in Covent Garden. Its first production there was de Valois’s staging of The Sleeping Beauty. The school moved to separate premises in 1947, and a sister company was created to continue performances at Sadler’s Wells. This company was named Sadler’s Wells Theatre Ballet and became the immediate predecessor of Birmingham Royal Ballet. John Field was its first artistic director. In 1955, the company temporarily lost its connection with Sadler’s Wells Theatre and operated as a touring unit associated with the main company at the Royal Opera House. A royal charter was granted in 1956 to the two companies and the school, leading to the names Royal Ballet, Sadler’s Wells Royal Ballet, and Royal Ballet School. Sadler’s Wells Royal Ballet returned to Sadler’s Wells Theatre in 1970 but continued to tour throughout the United Kingdom. Sir Peter Wright was artistic director from 1977 to 1995, a period in which the company maintained and expanded its repertory and national presence. In 1987, Birmingham Hippodrome invited the company to become its resident ballet organization. The move was completed in 1990, when the company relocated to Birmingham and became Birmingham Royal Ballet. The Birmingham base gave the company a distinct civic and national identity. It performs in Birmingham at Birmingham Hippodrome and has purpose-built facilities including multiple studios, the Jerwood Centre for the Prevention and Treatment of Dance Injuries, and the Patrick Centre studio theatre. These facilities support rehearsals, smaller-scale performances, dancer welfare, and educational activity. David Bintley succeeded Wright as artistic director in 1995. Two years later, BRB became institutionally independent of The Royal Ballet and was no longer managed by the Royal Opera House. This was an important governance milestone: although the companies continued to share historical roots and a broad classical tradition, Birmingham Royal Ballet now operated as a separate organization. In 2019, BRB announced that Carlos Acosta would succeed Bintley from January 2020. Acosta brought an international career as a dancer and artistic director to the role. The company’s current structure includes a director, music director, chief executive, dancers, artistic staff, executive staff, and specialist support services. Its work encompasses classical ballet, repertory and touring performances, new artistic activity, and public-facing education. BRB therefore functions both as a major producing company and as a cultural institution with a long-standing role in Birmingham and the wider British performing-arts sector.
- 2019
Carlos Acosta was announced as successor to David Bintley
[1]Acosta was named the next artistic director, with his tenure scheduled to begin in January 2020.
- 1997
BRB became independent of The Royal Ballet
[1]The company ceased to be managed by the Royal Opera House and became an independent organization.
- 1995
David Bintley became artistic director
[1]Bintley succeeded Peter Wright as the company’s artistic director.
- 1990
The company moved to Birmingham
[1]The organization relocated and adopted the name Birmingham Royal Ballet.
- 1987
Birmingham Hippodrome invited the company to become resident
[1]The invitation created the route toward the company’s permanent move from London to Birmingham.
- 1977
Peter Wright became artistic director
[1]Wright began a long artistic-director tenure that lasted until 1995.
- 1970
The company returned to Sadler's Wells Theatre
[1]Sadler's Wells Royal Ballet returned to the theatre while maintaining its touring role.
- 1956
A royal charter was granted
[1]The two companies and the school received a royal charter and the company became Sadler's Wells Royal Ballet.
- 1955
The company operated as a touring unit
[1]Sadler's Wells Theatre Ballet temporarily relocated its operational connection to the Royal Opera House while touring.
- 1946
Sadler's Wells Theatre Ballet was founded
[1]A sister company was formed to continue performances after the principal Sadler's Wells company moved to the Royal Opera House.
Products and positioning
High-end cultural institution combining classical ballet heritage, large-scale repertory production, national touring, dancer development, and public education.
Performing arts
Classical ballet productions
BRB presents full-length and repertory productions drawn from the classical ballet canon. These performances depend on a large professional company, orchestral or recorded musical support, scenery, costumes, stage management, and specialist technical production. Classical work is central to the company’s identity and connects its Birmingham operation with the wider British ballet tradition.
Performing arts
Mixed and contemporary repertory
Alongside established classical works, the company presents mixed bills and contemporary dance activity. This repertory allows BRB to support choreographic variety, provide different formats for touring and theatre presentation, and extend its artistic offer beyond a single style of ballet.
Touring and live entertainment
Touring performances
Touring has been part of the company’s role since its predecessor operated as a national touring organization. BRB performs across the United Kingdom and has also toured internationally, enabling audiences outside Birmingham to access large-scale ballet productions and supporting the company’s status as a national cultural institution.
Arts education
Dance education and outreach
The company’s activities include dance education and public engagement alongside professional performance. Such work extends the institution’s reach to learners, communities, and audiences and reflects the historical relationship between British ballet companies, schools, and structured dancer development.
Performance venue
Patrick Centre studio theatre
The Patrick Centre is a studio theatre within BRB’s Birmingham facilities. It provides a more intimate setting than a major proscenium theatre and supports studio-scale performance, artistic activity, and audience engagement connected with the company’s wider program.
Brand decisions
2019
Appointment of Carlos Acosta as artistic directorOtherBackground
David Bintley was nearing the end of his period as artistic director after succeeding Peter Wright in 1995.
Action taken
The company announced that Carlos Acosta would succeed Bintley, with Acosta beginning the role in January 2020.
Aftermath
The appointment introduced a new artistic leader with an internationally recognized career as a dancer and director.
1997
Separate from Royal Opera House managementStrategyBackground
Although BRB shared historical origins with The Royal Ballet, it had developed its own Birmingham base and operating identity after the 1990 relocation.
Action taken
Birmingham Royal Ballet became independent of The Royal Ballet and ceased to be managed by the Royal Opera House.
Aftermath
The decision formalized BRB as a separate organization while preserving its place within the historical Royal Ballet lineage.
1987
Move toward a permanent Birmingham baseStrategyBackground
Birmingham Hippodrome invited Sadler's Wells Royal Ballet to become its resident ballet company, creating an opportunity to establish a stronger regional base outside London.
Action taken
The company accepted the direction of travel and subsequently relocated to Birmingham in 1990, adopting the Birmingham Royal Ballet name.
Aftermath
The move made Birmingham the company’s principal home and strengthened its role as a major cultural institution in the city and the English regions.
Recent events
- 2019
Carlos Acosta was announced as the next artistic director[1]
Leadership change
The company announced that internationally recognized Cuban dancer Carlos Acosta would succeed David Bintley as artistic director in January 2020.
- 1997
Birmingham Royal Ballet became independent of The Royal Ballet[1]
Other
BRB ceased to be managed by the Royal Opera House and became an independent organization while retaining its historical connection to the Royal Ballet lineage.
- 1990
The company relocated to Birmingham and adopted its current name[1]
Other
The company moved to Birmingham and became Birmingham Royal Ballet, establishing the city as its principal base.
- 1987
Sadler's Wells Royal Ballet became resident at Birmingham Hippodrome[1]
Other
An invitation from Birmingham Hippodrome provided the basis for the company’s eventual relocation from London to Birmingham.
- 1956
The company received a royal charter and adopted the Sadler's Wells Royal Ballet name[1]
Other
A royal charter was granted to the two ballet companies and the associated school, after which the Birmingham predecessor became known as Sadler's Wells Royal Ballet.
- 1946
Birmingham Royal Ballet was established as Sadler's Wells Theatre Ballet[1]
Other
A sister company was created after the main Sadler's Wells company moved to the Royal Opera House. The new organization continued performance activity associated with Sadler's Wells.
Sources2 sources
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