fri 26/05/2017

Christopher Wheeldon

Symphonic Dances, Royal Ballet review - a truly interesting creation

Liam Scarlett must be worked off his feet. Just at the Royal Ballet, he made a full-length work, Frankenstein, last year and is currently working on a new Swan Lake; and now last night he has premiered a new abstract work, Symphonic Dances at the...

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An American in Paris review - 'stagecraft couldn't be slicker'

What’s in a yellow dress? Hope over experience? Reckless confidence? This is a legitimate question when the second big cross-Atlantic people-pleaser hoves into view featuring a girl in a frock of striking daffodil hue. It doesn’t take a degree in...

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Crystal Pite, Flight Pattern, Royal Ballet

Can thirty minutes of contemporary ballet say something meaningful about the modern refugee crisis? It has been the surprise of the season to find myself asking this question not once, but twice, at the Royal Ballet. In Wayne McGregor's Multiverse,...

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The Invitation/Obsidian Tear/Within the Golden Hour, Royal Ballet

It shows you just how much Kenneth MacMillan changed ballet in this country that 1960's The Invitation, with its onstage rape, sexual grooming and child abuse, can act as the reassuring classic at the heart of the new Royal Ballet triple bill which...

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The Winter's Tale, Royal Ballet

It was twelfth night for Christopher Wheeldon's two-year-old, three-act Shakespearean ballet, and this newcomer had one nervous anticipatory question. The verbal music is gone, only the plot remains, so could A Winter's Tale the play inspire...

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Wheeldon Triple Bill, Royal Ballet

Christopher Wheeldon's new ballet Strapless scores a first on a number of counts. It’s the first co-production between the Royal Ballet and the Bolshoi (London gets first dibs – Moscow doesn’t get the goods for another 12 months). It forms part of...

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Cinderella, Wheeldon, London Coliseum

Christopher Wheeldon is the purveyor of pretty. You can perfectly well see why San Francisco Ballet, who commissioned a new full-length work from Wheeldon in 2012, got cold feet at the prospect of tackling the difficult, Britten-scored Prince of the...

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Alice's Adventures in Wonderland (2014), Royal Ballet

Christopher Wheeldon’s hard-working mix of skewed classical ballet, vaudeville and Victorian theatrical magic achieved through state-of-the-art technique wasn’t much liked by theartsdesk’s critics on its first and second outings. Marvelling at it on...

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The Winter's Tale, Royal Ballet

Another week, another major British ballet company takes on a key cultural patrimony in a brand-new work. It might seem odd that the Royal Ballet’s new Winter’s Tale generates more critical reservations than English National Ballet’s take on...

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Alice's Adventures in Wonderland (2013), Royal Ballet

Art is a fickle subject – hence why many preeminent philosophers offer different theories as to how we can begin to understand the opposing effect the same object or creation can have on different people. Many can be mildly affected by a given...

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Apollo/ New Ratmansky/ New Wheeldon, Royal Ballet

Two world premieres in one night is almost more pressure than anyone can bear - choreographers, commissioning company or audience. Still more when the spotlit dancemakers are probably the two top Western names in the art, Alexei Ratmansky and...

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Alice's Adventures in Wonderland (2012), Royal Ballet

"I told you butter wouldn’t suit the works," accuses the Mad Hatter. "It was the best butter," replies the March Hare apologetically, in Lewis Carroll’s original tale. Butter might or might not suit the works onstage in the Royal Ballet’s everything...

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