For those not familiar, Balletboyz is a dance company founded in 2000 by a pair of alumni from The Royal Ballet. Their multi-award winning record speaks for itself and it has been with some anticipation that I have been awaiting their newest show.

Fourteen Days is primarily composed of a selection of new shorter pieces, culminating in the second half with one the companies signature performances. Conceptually, there is a great variety on offer here but a consistent streak of talent. The opening piece The Title is in the Text seems to me the most obtuse of the performances conceptually, but for any reservation about the clarity of its theme, the technical skills on display as the troupe perform on a giant seesaw will leave the audience astounded.

Human Animal was my favourite of the selection, combining technical skill with what struck me as a more accessible conceit: how the human form can simulate or become animalistic. That is not to speak to the detriment of the intimate duet Us and the final piece of the first half, The Indicator Line. The latter is a bold performance with suggestions of narrative, social struggle and power play. It is a strong demonstration of a company willing to push its creative talent.

The show ends on one of Balletboyz staple pieces, Fallen, first developed for them by choreographer Russell Maliphant in 2013.  It’s a sound structural decision to have an audience-pleasing favourite at the close, just to end on a high if the newer pieces didn’t land. As it happens, the exemplary pieces in the first half make Fallen a crowning moment on a consistently strong show.    ★★★★☆    Fenton Couthurst  22^nd May 2018