From performing in The Nutcracker as a child to taking Black Sabbath: The Ballet on the road, Birmingham Royal Ballet has been a massive part of Kit Holder’s life and vice-versa. 

Kit Holder has enjoyed a sparkling career at Birmingham Royal Ballet (BRB) dancing some of the world’s most iconic roles and now, as part of the company’s artistic team, he’s helping to bring a new generation of dancers through the ranks. But without Sir Peter Wright’s Nutcracker, he may never have found his dancing feet. We caught up with Kit ahead of the 35th year of Sir Peter’s production of The Nutcracker – the ballet that changed his life.

When the company formerly known as Sadler’s Wells Royal Ballet moved from London and became BRB the council offered Sir Peter the opportunity of a purpose-built studio in Birmingham. As a thank you, Sir Peter gifted The Nutcracker to the city which remains in Birmingham to this day. Kit, who has danced 12 roles in the production over the years, says: “Everybody loves The Nutcracker. Most great shows don’t necessarily satisfy every dancer, but The Nutcracker does. It’s a production with a lot of opportunity for dancers.” He adds: “If you had a financial head on you’d take it everywhere, but there’s something about it belonging to Birmingham. It’s special.”

ONE IN A MILLION

The production has been performed more than 600 times in the city watched by over one million people. For Kit, Christmas begins when the children from The Nutcracker come into the studio to rehearse. He says: “Some are shy, some are boisterous. I remember that feeling – the excitement, the build-up.”

After moving from London, the company set up junior associate classes which Kit was part of. This led to his first role on stage in The Nutcracker aged just eight-years-old that changed the trajectory of his life. It prompted a love of ballet that took him to the Royal Ballet School with a view to coming back to his home town – it was always Birmingham and always BRB. He says he’s always been happy here and has been thrilled to take on roles he’d watched as a child in productions like the Penguin Café and Swan Lake among many others.

Kit says he had a great relationship with former Director of BRB, Sir David Bintley who taught him so much as a leader and choreographer. When Carlos Acosta was appointed as Sir David’s successor a new chapter began for the company. Kit said: “Carlos is Carlos. I watched him dance a great deal as a dancer. He has different direction, vision and leadership. He makes things happen, makes ideas work.”

CROWD GOES WILD

Black Sabbath: The Ballet is a great example. Kit was at the point of retiring when the idea of Sabbath was mooted. He paused his retirement plans to satisfy his curiosity about the show. He says they didn’t finish the show until the afternoon of opening night, so it was touch and go, but it’s been an absolute phenomenon. “While The Nutcracker is a lot of peoples first ballet, so is Sabbath. Metal fans took a chance on this and the audiences go wild. When you’re on your ninth show of the week, that energy from the audience is welcome.”

Over time Kit became more interested in the process of creating shows and choreography, so after retiring as a dancer, he was thrilled to be part of BRB’s artistic team particularly working with BRB2 which shines a spotlight on some of the best young dancers from around the world aged 18 to 22. He says: “I get to work with young dancers that have graduated from the best schools. As a company we can attract that talent.” The original cohort of BRB2 dancers Maïlène Katoch, Jack Easton Frieda Kaden, Oscar Kempsey-Fagg and Mason King all completed the two-year programme and have now joined the main company as artists.

ALL CONSUMING

Given performing careers are all consuming, Kit was aware of the pitfalls of transitioning out of his. “I studied psychology so I was aware of the challenges of leaving a career like mine. Some people go through an identity crisis, but I’ve been lucky. My role is really fulfilling. Coaching BRB2 and watching them nail the choreography is beautiful. I have no desire to be taking the curtain call, so I know it’s right for me.”

Maintaining the same level of fitness has been a tougher ask. Kit makes use of the gym and physio on site at BRB and tries to cycle to work when he can but says it’s very different. Although the choice is a tough one, Kit’s pick from a packed BRB 2026 programme is the 1932 anti-war ballet by German choreographer Kurt Jooss, The Green Table. Kit describes it as the perfect ballet – devastating, fantastic, with no additional fluff.