fri 20/01/2017


10 Questions for Choreographer Charles Linehan

thomas H Green

Charles Linehan is an acclaimed British choreographer, whose company has performed all over the world, from DanSpace New York to Brussels’ Kaai Theatre to the Venice Biennale. Born in Cyprus and raised in Kent, he studied at the Rambert School of Ballet and Contemporary Dance, prior to honing his craft as a dancer with various European companies.


10 Questions for Choreographer Matthew Bourne

Hanna Weibye

Choreographers are not generally household names, but Matthew Bourne must come close. Not only does his company tour frequently and widely, with a Christmas run at Sadler’s Wells that many families regard as an essential fixture of their seasonal celebrations, his pieces have also been seen on Sky, on the BBC, and on film, most famously when his Swan Lake featured at the end of the 2000 movie Billy Elliot.


An Open Book: Michael Hulls

ismene Brown

The occupation “lighting designer” is too workaday to describe Michael Hulls. The artistry with which he casts illumination or shadow on some of the great dancers of our time make the idea of switches and bulb wattage seem humdrum. Pellucid, occluded, darkling - this is Hulls’ palette of twilight effects. Too often, he says, people do not understand the difference between seeing the dancer and seeing the dance.


theartsdesk Q&A: Choreographer Stephen Mear

Marianka Swain

From Singin’ in the Rain and Anything Goes to Hello, Dolly! and Mary Poppins, Olivier Award winner Stephen Mear has done more than any other British choreographer to usher classic musicals into the modern era. But adept as he is at razzle-dazzling ’em, there’s more to Mear, as recent excursions like City of Angels at Donmar Warehouse and Die Fledermaus for the Metropolitan Opera prove.


theartsdesk Q&A: Choreographer Akram Khan

Hanna Weibye

Akram Khan is unexpectedly softly-spoken.


theartsdesk Q&A: Choreographer Wayne McGregor

Hanna Weibye

How do you know Wayne McGregor? Dance-goers with long memories might remember Wayne McGregor as the wunderkind who founded his own company and became resident choreographer at The Place aged just 22. Lovers of contemporary dance will be familiar with his company Random Dance, which boasts some of the best dancers in the business and periodically brings sophisticated, hi-tech pieces to Sadler’s Wells.


10 Questions for Choreographer Wim Vandekeybus

thomas H Green

Wim Vandekeybus (b. 1963) is the man behind Ultima Vez, a theatrical-choreographic powerhouse in Brussels. With his guidance they have sped to the forefront of European multi-media performance with such works as Monkey Sandwich, Oedipus/Bêt Noir, NieuwZwart and Booty Looting, each combining music, dance, visual arts and theatre in different ratios to startling effect.


theartsdesk Q&A: Lighting Designer Michael Hulls

ismene Brown

Last night the Olivier Awards handed their top honour for dance not to a dancer but to the man who shines the lights on the dancers. Michael Hulls, winner of the Outstanding Achievement in Dance award, paints the dancing of Sylvie Guillem, Akram Khan, Russell Maliphant and the Ballet Boyz with atmospheres and illuminations that seem to reach beyond the visual and into some paranormal place.


theartsdesk Q&A: Choreographer Hofesh Shechter

Hanna Weibye

Israeli-born choreographer Hofesh Shechter has had a meteoric rise. Ten years ago, he was a dancer in somebody else’s company who had just taken a couple of steps into choreography. Now he has his own full-time company, can pack out Sadler’s Wells twice a year, and gets invited to stage his creations for top international companies like Nederlands Dans Theater.


How Ratmansky exited the Bolshoi, in Flames

ismene Brown

The Flames of Paris, given its London premiere by the Bolshoi Ballet this weekend, was Alexei Ratmansky's farewell present to the Moscow company which he directed from 2004 to 2008. In his final months at the Bolshoi he talked with me in his office about his approach to revising this landmark historical ballet, and the conditions inside the theatre that he would soon be leaving after a turbulent five years.



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