For over fifty years now, The Trocks have been the foremost gender-skewering comedy ballet company (their words, but I couldn’t have put it better myself) in the world. Never surrendering their primary skill – being extraordinarily good exponents of classical ballet – and combining it with a unique comic slant, always affectionate and never cruel, makes them the must-see act in their field of entertainment. Fortunately for us, they have never confined themselves to their New York roots, but are constantly touring worldwide, including regular visits to the United Kingdom.

Their current tour started in Dublin in April, and has six more venues after Milton Keynes, before they return to the US of A. Their programmes invariably begin with their signature dish of Swan Lake Act Two, then there’ll be a pas de deux followed by another dance, topped off with the dying swan, and then a rumbustious final number to send everybody home happy. Why change a winning formula?

Each Trock adopts their own ballerina and ballerino, investing them with as much personality as they can get away with whilst still performing as a credible danseur/se. Harking back to the grand Russian tradition of classical ballet, many have outrageously Russki monikers: in the past we had the divine Comrade Ida Nevasayneva, and the matchless Larissa Dumbchenko, for example, as well as the famous and still current Legupski brothers, who, as the programme notes always insist, are not really brothers. As always, Natasha Notgoodenuff was not dancing last night, as she was winging her way on her usual errand of mercy to assist the ailing ballerinas at – this time – Les Grands Ballets Impérials de Luton. Poor Natasha’s always on the road.

Our Odette for Swan Lake was the always remarkable Varvara Laptopova (Takaomi Yoshino) who’s been with the Trocks for nearly eight years but still looks about sixteen. La Laptop’s pointe work is exceptional, and her spinnability is second to none. She was partnered with the delightfully bewildered Araf Legupski (Andrea Fabbri) and pestered by a hilariously fretful Benno danced by Jacques d’Aniels (Antonio Lopez). Von Rothbart was in the super capable hands of Yuri Smirnov (Robert Carter), hurtling around the stage like a wizard possessed, threatening swans left right and centre. The corps de ballet was the usual gathering of mismatched étoiles, their elegant smiles and dynamic pliés only surpassed by the occasional hairy chest. The quality of the dancing was immense, and the attention to comic detail brilliant.

Our pas de deux was from Le Corsaire, with M. D’Aniels, this time with feather in cap, partnering Maya Thickenthighya (a fresh reincarnation from new Trock Peter Gwlazda), an opportunity for both to show their amazing mastery of the art. The centrepiece was the perennial favourite, Go for Barocco, with six dancers intertwining some truly elegant shapes and routines with the Barocco trademark Olympic Road Race walk. I bet Bach never expected his Brandenburgh Concertos to be used for that. For the Dying Swan we welcomed the inimitable Olga Supphozova for a gorgeous swansong, the swan’s last minutes marked by her desperate attempt to reattach her dropping feathers before finally toppling over. No one executes the terminal fowl like Olga.

Our final dance was Valpurgeyeva Noch, a Bolshoi-ish extravaganza compete with fauns and nymphs, with Boris Dumbkopf (Takaomi Yoshino again) dominating the leaps as Pan but with all the artists of the Trockadero fully committed to make the night go with a bang. You always wonder what dance the Trocks will perform for their encore –  last night it was their irresistible homage to Mikhail Flatleyski and their Lord of the Dance.

A word of thanks to the remarkable Robert Carter, who is performing his final tour this summer. A stalwart of the company since 1995, a Trock beyond compare, who has served his time man and boy, swan and cygnet. We first saw him at the Wycombe Swan in 1998 and since then he’s done Olga and Yuri proud over the years. He’s one of those performers who make you realise that seeing their work is an immense privilege.

After Milton Keynes, they keep on trockin’ to Norwich, Canterbury, Blackpool, Edinburgh, Aberdeen and Buxton. Go see them while you can!

Five Alive, Let Dance Thrive!