Press 2017

Exeunt Magazine 

‘Bold and stylish, The Four Seasons is a work driven by its music (a re-composition by Max Richter) and in that lies its strength. The choreography is full and varied, shifting from full-cast, to pas-de-deux to carefully designed group work. Lee exhibits a flair for structuring group sections, with some intricate patterning and shifting partnerships.’

read the full article here 

‘The most thrilling parts of the evening were the first and second movements of The Four Seasons, choreographed by Jenna Lee, where there was a freshness and flow to the choreography. The pas de deux in the Summer section were poised and tender indeed.’

read the full article here

Press 2016

“Feminism and female empowerment are buzz words in the press at the minute, and we have noticed a definite change in the way our ballets are received because of this,” observes Karen Pilkington-Miksa, the company’s Founding and Artistic Director, when talking about her focus on female choreographers. “We are always striving to include and promote those people who might not have any other opportunity to get themselves, or their work, noticed and the work of female choreographers definitely fits that bill!”

Read the full article here.


“NEBT is uniquely defined in the world of competitive ballet: founded by its artistic director, the visionary Karen Pilkington-Miksa in 2011, NEBT has commissioned and produced 16 new ballets deploying the exciting talents of dancers, choreographers, musicians and designers.”

Read the full article here.

“SeeingDance editor David Mead spends a day with New English Ballet Theatre, looking ahead to their new Quintessential programme, and even learning a short section of one ballet.

When the invitation dropped into the Inbox, it was impossible to turn down. Come along and join in with New English Ballet Theatre’s (NEBT) ‘ballet boot camp’ for web-based writers. Meet the company, watch rehearsal of some ballets from the company’s forthcoming programme of five new ballets, and the biggie, learn part of one of those ballets.”

Read the full article here.

“Dancing in a programme that consists of a number of works, each created by a different choreographer, can be a challenging process. The dancers have to learn to switch between styles, to go from the grounded movements of contemporary to neoclassical and traditional ballet technique. “It’s hard,” dancer Riccardo Rodighiero admits, “but it’s interesting to challenge yourself across different styles.”

Read the full article here.

New English Ballet Theatre hold an open rehearsal for pupils at Lanterns School of the Performing Arts.

Read the full article here.

“What a gorgeous jewel box of a dance event is this. Five new ballets choreographed by five brilliant choreographers, describing stories and sensibility through movement, not found before.

Everything about this show is very fine. From the production and lighting values. creating tone and atmosphere, to the live music and the nuanced dancing by the talented performers of the New English National Ballet Theatre.”

Read the full article here.

“This evening was a rich menu of thoughtful and engaging choreography, very well performed by consistently excellent emerging dancers and musicians: fulfilling the company’s mission perfectly.”

Read the full article here.

“5-star Quint-Essential Five New Ballets at The Peacock Theatre.

The vibrancy of the London Arts scene is well illustrated by the success of the “New English Ballet Theatre”.”

Read the full article here.

“It’s great to see that the standard of dancing is increasing year by year, especially regarding partnering. This year’s crop looked assured, confident and completely at home on the London stage.”

Read the full article here.


Press 2015

“This programme of work brings together showcase pieces of contemporary ballet in a variety of different styles and with different musical inspirations. In two hours the audience is exposed to the Russian romanticism of Mussorgsky, the Brazilian folk music of Heitor Villa-Lobos before rushing around the world to some traditional aboriginal compositions with the guttural tones of the didgeridoo. Each and every piece is intrinsically linked with the choreography and the movement of the dancers, with each step striving to reflect and imitate the emotion within the music itself.“


Daniel Perks – A Younger Theatre

“Another enjoyable but brief highlight was Wundarra, a unique duet featuring classical choreography to aboriginal music. Alexandra Cameron-Martin has an infectious grin throughout and the music is so rhythmical the choreography seems to fit in effortlessly. It would have been nice to see this piece extended and developed a little more. This was the kind of duet that makes dance accessible and exciting for all.”

“Toca by Erico Montes is a tantalising pas de deux set to Villa-Lobos. Perfectly suited to the sultry July night, it sizzled with passion only to be extinguished like a flame between pinched fingers. At one point Paul Oliver faces the audience and Arinana Marchiori stands by his side facing backwards. A simple device that they manage to make incredibly telling. It is epitomised by less is more and works like the best of appetisers to pique the interest.”

“Sustained only by live music, sensitive costuming and their creativity, these artists proved beyond doubt that choreography doesn’t need costly production values to succeed. In ways no other artform duplicates, it can effectively explore space, time and human experience all by itself.”

“NEBT may be a small and relatively new company — created in 2010 —but its young dancers show prodigious talent, displaying sound technical ability, musicality, inner passion, and outward joy of dancing.”

“Wonderfully constructed, the sequences are circular, undulating, scintillating in construction and exceptionally well executed. Chloé Lopes Gomes and Ivan Delgado del Rio led the rest of the cats of four couples with such authority it was hard to believe they were not already established principals. She has a sensuous allure, an ability to make her back ‘speak’ as she moves from one beautiful shape to another. He is an accomplished dancer and partner who understands innately how to communicate with the audience. The central pas de deux was luscious, liquid, absolutely captivating. The third and final movement was a swirling mass of curves and shapes that expressed the music exactly.”

“New English Ballet Theatre offers a unique platform for emerging dancers and choreographers to hone their craft and mature as performers in a professional setting. Watching the company for the first time, I’m sold on the vision and impressed with the breadth of creative opportunities that Artistic Director Karen Pilkington-Miksa is giving her young artists. It’s a project which looks set to go from strength to strength.”


Press 2014

“Founded by Karen Pilkington-Miksa with the intention of promoting young talent and preparing it for the competitive world by giving it more stage time, NEBT’s debut in 2012 garnered warm reviews. This is its equivalent of the second novel…will it deliver on its early promise? Deliver it does!”

“The auditorium of the Peacock Theatre is an impressive setting for New English Ballet Theatre’s five part programme combining visual art, music and dance…overall it was a highly competent, polished production. The NEBT deserves great credit for nurturing and promoting young talent.”

“It is essential to give credit and support to everything that NEBT stands for: perseverance, passion and providing opportunity. These are qualities possessed in spades by the company’s redoubtable founder and director, Karen Pilkington-Miksa, a former dancer who spotted a gap for a company to provide opportunities for emerging dancers, designers and choreographers and set out – in 2010 – with a lot of help from patrons and sponsors. It has certainly grown from strength to strength since then. The programme was presented to high professional standards and made for an enjoyable evening. I hope that there will be many more to come from this outstanding and very worthwhile initiative.”

“(In Kreutzer Sonata) Hayley Blackburn portrayed vividly the dilemmas and hopeless situation of the wife trapped in an unhappy marriage, torn between her children and husband and her liking for a violinist…the ballet has more than a hint of Onegin about it, in look and in the way McNichol tackles the narrative with clarity, the dance and drama melding as one. Barely a step is wasted in moving the story along. Also impressive is the way the choreography hints at a hidden and less pleasant side to the married couple’s relationship a long time before it bubbles into the open. The final fight between the couple was powerful and hard-hitting.”

“Kristin McNally’s larky, post-feminist romp, Mad Women, danced by five babes in watermelon Capri pants, made an excellent first-act closer.”

“If you are keen on seeing new work, this is an attractive package of five pieces which is very well presented.”

“Mad Women, Kristin McNally’s new work is funny, surprising and sharp in almost every detail…it elicits alert, intelligent performances from its cast. There’s so much to applaud about NEBT, a young company determined to present new choreography and to incorporate live music and original design.”

“For its second season at the Peacock Theatre, NEBT has chosen a programme with five interesting works. With two of them performed to live music, admirably played by young gifted musicians, the pieces on the bill proved the founder of the company right. Daniela Cardim Fonteyne’s choreography for Tangents stresses the classic vocabulary in building graceful harmonious sequences that are dynamically combined in a rich variety of formations. The work was well performed with clear, fast, and clean movements.”

“All five of the new works demonstrate the commitment of their dancers and choreographers.”


Press 2012

“With a couple of exceptions, the choreography was composed by the bright young things and all of it was broadly akin to seeing a promising choreographic workshop…Jenna Lee and George Williamson are prodigiously talented young dancemakers, coming from very different places in the neoclassical spectrum and there was an interesting mutuality in the pairing of their work…”

“This was a programme that delivered what Karen Pilkington-Miksa and her team set out to achieve for which she (and they) deserve our considerable applause. NEBT provides a stepping stone for young people to acquire the experience of participating in a professional show. Given the significant disparity between the number of graduates from our dance schools and the number of professional jobs available to them, any opportunity for paid work must be applauded.”

“Youth brings freshness; Rebecca Wilson’s Joy punks up Mozart’s Eine Kleine Nachtmusik with Kentish farmers in micro-denim shorts while choreographer Wayne Eagling’s Resolution (created for Duchenne Muscular Dystrophy sufferers, many of whom don’t live beyond 30) is heartbreaking when performed by lithe twentysomethings.”

“Performers showed an exceptional level of technique and potential throughout…New English Ballet Theatre has shown what a wealth of young talent we have in the UK and the company itself, as well as all of its emerging dancers and artists, are richly deserving of further opportunities to shine.”

Legends, a new duet by Michael Corder, is the strongest on this programme. Chiaki Korematsu and Iván Delgado del Rio dance a fluent, pretty pas de deux.  Corner gives them flowing steps with individual touches…the performance is smooth and spontaneous with bright footwork from Korematsu.”

“Jenna Lee’s Classical Symphony, a brisk, neo-classical work set to music by Prokofiev that included much fast dancing. It put both male and female dancers through their paces and Ryoko Yagyu took the leading role with flair.”

“In today’s bankrupt financial atmosphere what a brave and brilliant adventure to find a ballet company encouraging young, untried dancers and designers.”

“Given the limited opportunities available to classical dancers, any new ballet company is good news. Debuting in 2012, New English Ballet Theatre’s aim is to stage new works with art-grade designs and live music – ably provided by the Westminster Festival Orchestra. Founded by the dancer and teacher Karen Pilkington-Miksa, it boasts an impressive team of teachers, advisers and patrons – not least Carlos Acosta, Darcey Bussell, Anya Sainsbury and Doreen Wells. Its first London’s season was staged at the Peacock Theatre, and the short run had many promising features. Foremost are the young dancers, whose commitment and focus are considerable. ”

“Another strong feature of the programme were the designs. The company has rightly avoided detailed props and sets, which are costly to commission and unwieldy to store. Instead it uses projections of art work, which are essentially colourful, mood-making backdrops that create effective context for the dancers without distracting from them. The costumes are also well chosen, with simple leotards in various styles and trim enhancing the dancers and hinting at mood and theme.”

“…outstanding, too, is Kristen McNally’s Lonesome Gun, a raunchy, occasionally piercing cowboy – girl ballet that manages to flaunt every lasso-twirling, gun-toting cliche while evoking the lonely emotional landscape within. Dance is a crowded marketplace, and if NEBT has a future, as I hope it does, it will be in the cherry-picking of new and original work like this.”

“…the company contains a body of talented young artists technically equipped to cope with tremendous varied choreography…Lonesome Gun by Kristen McNally is a perfect example of movement, mood and music in artistic unity.  NEBT fulfils an important need, long may it continue.”


For all press enquiries please contact Judy Lipsey at Premier Communications