BALLERINAS
The Coronet Theatre
★★★½
“There’s something compelling about the rough edges, mirroring the vulnerability at the production’s core.”
Reuniting for their fourth collaboration, the Coronet Theatre and Made in Prague Festival present the UK premiere of ‘Ballerinas’, a gritty fusion of theatre, dance and memoir that boldly explores Miřenka Čechová’s personal experiences of Czech conservatoire ballet in the 1990s. Though it doesn’t hit every mark, its honesty and urgency make for compelling viewing.
Miřenka Čechová dreamed of becoming a ballerina. But when the price of excellence is your humanity, how much are you willing to sacrifice?
Conceived by former ballet dancer and acclaimed memoirist Miřenka Čechová, with dramaturgy by Martina Kinská, ‘Ballerinas’ is a raw, inventive portrait of survival in a system that prized perfection over wellbeing. Blending testimony, dance, physical theatre, song and video, Čechová transforms personal trauma into a sequence of vivid images. Some ideas are stronger than others: the body-horror rebirth from a princess dress and savage amputation of fake body parts are among the show’s most striking; other scenes feel overextended, and the recurring motif of death could be refined. But the piece is fearless and affecting, pairing confronting honesty with wry humour and hard-won resilience.
Čechová’s direction, in collaboration from Janka Ryšánek Schmidtová and Tereza Dočkalová, favours bold imagery, dark humour and theatrical shock. Most of it lands, generating genuine unease through suffocating plastic, a self-destructive saw and spiky metal roses. Some scenes and transitions could be snappier to keep momentum flowing and tension building. Though using the discarded body chunks as the roses is a stroke a genius, helping to elevate an occasionally uneven but nonetheless intriguing production.
Čechová’s performance is revealing and fearless, stepping into the spotlight to reclaim her story and shed the spectre of passive heroines. Her comic timing is sharp, and the contrast between beautifully precise classical ballet and bursts of grotesque physical theatre is particularly striking. Slightly tighter delivery would heighten the emotional impact, and though her singing is used effectively it could be stronger. Yet there’s something compelling about the rough edges, mirroring the vulnerability at the production’s core. You never doubt that Čechová is drawing deeply from personal experience, and there’s real power witnessing a performer confront past trauma on their own terms.
Martin Tvrdý’s versatile score, paired with live music from Mary C, moves effortlessly from classical to ethereal to electronic. Live looping and DJing create a dynamic soundscape that vividly colours each stage of the journey.
Petr Boháč and Eva Matoušová’s deceptively minimalist set packs in plenty of surprises, weaving lots of technology into the action. A few technical glitches, including a screen error message and a faulty microphone, briefly disrupt proceedings, but the production’s ambition and inventiveness remain clear. Filip Horn’s lighting is a standout, conjuring grotesque shadows and striking visual contrasts underscoring the gulf between aspiration and reality. Linda Arbanová’s animation brings a gritty, almost punk energy, while Tereza Vejvodová’s video interludes offer poignant glimpses into conservatoire life and its cumulative toll. Eva Matoušová’s costumes and props vividly chart Čechová’s psychological unravelling before ultimately restoring her agency.
‘Ballerinas’ is a daring insight into the highs and harms of elite ballet, transforming personal experience into inventive, resonant theatre. Not every element is fully polished, but its insight and honesty make a powerful impression.
BALLERINAS
The Coronet Theatre
Reviewed on 6th November 2026
by Hannah Bothelton
Photography by Jan Hromádko
