Birmingham Royal Ballet 2: stripped back and raw - an engaging showcase of young talent.

A minimalistic monochrome set, a black backdrop and the Royal Ballet Sinfonia in the pit. Like the phoenix rising from the ashes, members of Carlos Acosta’s newest ballet company BRB2 gave a triumphant display of stripped back talent at the Royal and Derngate on Tuesday night.

Director Carlos Acosta’s BRB2 – made up of young dancers from around the world - danced a handpicked range of classical and contemporary pieces.

The idea behind BRB2 is that some of the best young ballet graduates from around the world join members of the main company in a 2-year performance programme and get the opportunity to dance leading roles, which otherwise would have taken years to attain.

I must confess I have only seen a handful of ballets but I loved watching the newer dancers put in the spotlight in this premiere evening at the start of their 5-date tour.

At the start, the dancers walked onto the stage dressed down in tracksuits and leotards and started limbering up their long limbs. It seemed as if we the audience were secret observers of a dance rehearsal. Then they started to peel off their outer clothes, revealing their gorgeous ballet costumes.

As a black curtain descended, an expectant hush fell in the auditorium – as if we knew something special was going to emerge.

What did emerge was a beautiful selection of iconic classical and contemporary extracts from Rhapsody to The Dying Swans, Swan Lake, the Act II pas de deux, and Bournonville’s La Sylphide.

The evening was is in two halves: in the first half were four classical pas de deux plus Fokine’s famous Dying Swan solo. In the second half seven newer pieces of choreography were performed.

The young dancers displayed wonderful artistry, technical skills and sheer enthusiasm in all of the short dance extracts, solos, pas de deux and ensemble pieces.

A personal highlight of mine in the first half, was a new interpretation of Fokine’s Dying Swans choreographed by Carlos Acosta and danced by two dancers, Jack Easton and Regan Hutsell. The way the dancers moved their limbs really gave an eerie pathos to the piece. I also enjoyed the extract from La Sylphide with a really athletic performance by Eric Pinto Cata and with beautiful grace from Olivia Chang Clarke.

In the second half I enjoyed the Piaf tribute, “Je ne regrette rien,” danced by Regan Hutsell. The way the young dancer moved her body was so mesmerising and engaging, it provided a stand-out performance.

Frieda Kaden and Jack Easton danced a memorable version of Gustsavo Mollajoli’s A Buenos Aires.

Against the monochrome backdrop, the pas de deux and ensemble performances shone out, showcasing the technique and skill of the young dancers who will surely go onto have celebrated careers. It was a shame that they only graced the stage in Northampton for one night.