Artistic Director: Tory Dobrin
Executive Director: Liz Harler
Dublin Dance Festival 2026 and Dance Consortium welcome the iconic Les Ballets Trockadero de Monte Carlo to the iconic Bord Gais Energy Theatre Dublin for the launch of their 50th Anniversary tour. Next stop Sadler’s Wells London and 12 other UK venues.
The all-male comedy ballet company was forged in 1974 in the aftermath of the fire of the Stonewall riots of 1969 in downtown New York. Relentless harassment of gay bars by law enforcement at that time culminated in a frontline of resistance when police officers raided popular dance bar ‘The Stonewall Inn’, targeting drag queens and transgender patrons, in particular, for being in violation of “gender-appropriate clothing”. Thousands supported the six days of protests which paved the way for the modern LGBTQ+ rights movement and America’s first Pride marches.
After a witty introduction referencing some hilariously fabricated Russian-inspired dancer’s names, the show opens at Act II of Swan Lake with evil sorcerer, Van Rothbart, flapping his ruby red winged cape as he traverses Le Lac des Cygnes, exerting his dominion. Except that the exertion of all of these grand jetes en manege are exhausting our feathered antagonist and he has to pause periodically and very, very dramatically to catch his breath.
This exaggerated, visually driven style of humour sets the tone for an evening of pure, unadulterated slapstick comedy. Odette’s facial expressions and mimicry as she dodges Prince Siegfried’s crossbow and seeks to enthrall him are a riot. A parody of the Danse des Petits Cygnes with the ballerinas disrupting each other and jockeying for pole position has the audience in hysterics. An uproarious The Dying Swan scene where the moulting swan really doesn’t want to die, or leave the stage, is surely the magnum opus of its creator. And the sassy hip thrusts in Peter Anastos’ stupendous spoof Go For Barocco nearly had us on the floor laughing.
But interspersed throughout the comedy, a high level of ability and skill is clear to see. Especially when the dancers wear soft shoes. Van Rothbart, Prince Siegfried and Benno were a joy to watch. Similarly, the danseurs pirouette à la seconde and the danseuse’ fouette in the pas de deux were wonderful. Following the second interval, a beautiful tableau of nymphs, fauns and bacchantes comes alive in Valpurgeyeva Noch (Walpurgisnacht). But while cartoonish elements continue to feature in this bewitching finale, the choreography’s fealty to the classical origins of the piece overscore them and we get to enjoy the integrity of ballet for its own sake, and also the genuine artistic prowess of the troupe.
It bears mentioning how striking it is that these performers are en pointe. As someone who, at a waif-like 12 years of age, experienced the unnatural pressure and pain of progressing to ‘dancing on the toes’, I am astonished to witness grown men, who likely have an average body weight of 180-200 Ibs, achieve it. To execute the tiny, quick, travelling steps of pas de bourree couru en pointe must be a monumental feat of endurance. While they likely wear special shoes with a wider box and heel, the dancers will undoubtedly have suffered not only blood, sweat and tears but also lost toenails. And it is also worth considering that male characters are having to lift, hold and carry their male counterparts, in their female persona, as if they were half their weight.
The company of Les Ballets Trockadero de Monte Carlo are the living, breathing epitome of finding your tribe. For every young boy who dreams not only of becoming a danseur but a danseuse, someone who gets to perform the upper body artistry of “epaulement” and wear tutus and pointe shoes and fabulous eyelashes, rather than being the supporting partner, there to showcase the ballerina, then this is the home for you. Please bear in mind that you should also possess a strong foundation in classical ballet technique, mime and acting skills, excellent comic timing and quite possibly, bionic toes.
A standing ovation, when it comes, is loud and sustained. The ensemble stands shoulder to shoulder across the stage, in a manner reminiscent of ‘The Stonewall Inn’s’ line of resistance. But just when you think it’s all over, Bill Whelan’s iconic Riverdance theme fills the auditorium and the dancers break into their own vigorous interpretation of Irish dancing. The audience erupts and the applause is thunderous. Trocks, Ireland salutes you!
Reviewed 30th April 2026.
