Why Do Even Serious Ballet Fans Love The Trocks?

By Grace Hatchell, balancing.

There are some nights at the theatre where you go in expecting elegance… and come out wiping tears of laughter from your eyes.

Les Ballets Trockadero de Monte Carlo — or simply, the Trocks — are returning to London’s Peacock Theatre this May, and if you’ve never experienced them before, let’s just say… this is ballet, but not as you quite know it.

From Tuesday 5 to Saturday 9 May, the company bring their iconic blend of classical precision and comedic brilliance back to what they fondly call their “home away from home,” kicking off a UK tour that promises both beauty and belly laughs in equal measure.

Because here’s the thing — the Trocks don’t mock ballet.
They adore it.

Every perfectly placed step, every exaggerated swan, every dramatic collapse is built on a deep understanding of the art form. And that’s exactly why it works. The technique is real. The talent is undeniable. It just happens to come with impeccable comic timing and a knowing wink to the audience.

And honestly? That’s where the magic lives.

The London programme reads like a love letter to ballet’s greatest hits — Swan Lake, The Dying Swan, and Paquita — alongside something a little different, with the UK premiere of Metal Garden, a contemporary piece reimagined with pointe work and full Trocks flair.

Swan Lake, of course, needs no introduction — probably the most recognisable ballet in the world. But in the hands (and wings) of the Trocks, it becomes something gloriously unpredictable. Still beautiful. Still mesmerising. But just… slightly unhinged in the best possible way.

And then there’s The Dying Swan.

Originally created for Anna Pavlova, it’s one of the most iconic solos in ballet history — delicate, emotional, and fleeting. The Trocks’ version? Somehow both hilarious and strangely touching. You laugh… and then you realise you’re actually quite moved by it.

That’s their secret.

They remind us that ballet doesn’t have to sit on a pedestal to be appreciated. It can be joyful. It can be playful. It can be — dare we say — ridiculously entertaining.

And maybe that’s why audiences keep coming back.

Because whether you’re a seasoned ballet-goer who knows every step… or someone who’s just there for a good night out, the Trocks meet you exactly where you are — and then sweep you into their wonderfully chaotic, feather-filled world.

Listings information
Tuesday 5 May to Friday 8 May at 7.30pm & Saturday 9 May at 2.30pm & 7.30pm
Tuesday 5 May: BSL post-show talk with artistic director Tory Dobrin
Thursday 7 May: audio-described performance (and pre-show touch tour starting at 6pm)
Peacock Theatre, Portugal St, LONDON WC2A 2HT
Booking: 020 7863 8222 / www.sadlerswells.com/
Tickets: start from £18 (+ £4 booking fee)
Programme: Swan Lake; Pas de Deux or solo; Metal Garden (UK premiere); The Dying Swan; Paquita
Run time: approximately 2 hours including two intervals
Nearest tube: Holborn

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Who Is Andrew “The Guvnor” of Theatre Village? (As delivered by Grace Hatchell, 2nd Act Couriers, First Class & Slightly Nosy Service) Now then… if you’ve spent any time wandering through Theatre Village, you’ll have felt it. That hum. That buzz. That sense that somewhere, behind the curtain, someone’s pulling the strings, brewing the tea, and making sure the spotlight actually turns on. That, my lovely lot, would be Andrew. Or as I’ve taken to calling him… The Guvnor. Not in a scary, “don’t cross him” sort of way—no, no. More in a “quietly building an empire while everyone else is still reading the programme” kind of way. I’ve seen him, you know. Not always in plain sight—he’s not one for centre stage—but always there. Watching. Tweaking. Thinking. Probably got about ten ideas bubbling away at once, and another five already halfway out the door. Theatre Village didn’t just appear overnight, you see. It’s been stitched together bit by bit, like one of those proper handmade costumes—threaded with passion, a bit of cheek, and a genuine love for the stage. Not the flashy, red carpet side of theatre… but the real stuff. The fringe. The underdogs. The ones pouring their hearts out in tiny venues with dodgy lighting and big dreams. That’s where Andrew’s eye is. He’s got a knack for spotting something special before the crowd catches on. A show tucked away upstairs. A performer giving it everything. A story that deserves to be heard. And instead of just nodding along like the rest of us, he builds a whole blooming platform for it. And let me tell you—this village? It’s not just for show. It’s growing. Expanding. Streets being built, doors opening, new voices moving in. He’s not just writing about theatre… he’s creating a place for it to live. Bit clever, that. Now, he won’t say it himself—far too modest—but there’s graft behind it. Late nights. Early mornings. Probably a fair few “what am I doing?” moments along the way (haven’t we all, eh?). But he keeps going. Keeps building. Keeps believing there’s room for more stories, more voices, more magic. And I like that. Because in a world where it’s easy to shout about the biggest shows with the biggest budgets, Andrew’s quietly making sure the smaller ones don’t get lost in the post. (And trust me, as a postwoman, I take that very seriously.) So if you ever find yourself wandering through Theatre Village, just remember—you might not see him straight away… but The Guvnor’s there. Somewhere between the lines, behind the scenes, keeping the whole place ticking along nicely. And if you listen carefully… you might just hear the next big idea being scribbled down. Now then— I’ve got letters to deliver, gossip to gather, and probably a biscuit waiting for me somewhere. See you round the Village. — Grace

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