Dance
Ismene Brown
Death concentrates the mind wonderfully, as they say. In the wake of the demise last week of Alexander Grant, who owned the choreographer Frederick Ashton's world-wide hit ballet La fille mal gardée, the Royal Ballet has announced that it is launching a foundation to "perpetuate the legacy and work" of the distinguished choreographer 23 years after his death.The situation of ownership is complicated. The bulk of Ashton's ballets, whether performable or not, are owned by his nephew, Anthony Russell-Roberts, formerly administrative director of the Royal Ballet. The choreographer left some Read more ...
Ismene Brown
Any newcomers to Merce Cunningham who visit the last performances ever in Britain of his modern dance company - renowned, even notorious, for its abstruse abstractness - will surely go away with an impression of laughter, playfulness, the lightness of being. On two more nights, tonight and tomorrow, this landmark company will perform his dances, and then - like the end of his piece Ocean, which you can see on film tomorrow - when the clock runs out, the last dancer will leave the stage, and that will be the end of it.Few choreographers plan their finale as exactly as Cunningham did before he Read more ...
Ismene Brown
It takes more than utmost craft and rich personality to hold the stage as a soloist - it takes a touch of divine self-belief, which Akram Khan has never displayed to more magnetic effect before than in his new solo DESH. Actually solo is too small a word for this epic, lavish display of the starpower that Khan now emits in the world of dance theatre.This production looks as if it has cost hundreds of thousands of pounds to stage, with its luxuriously liberal video animations by Yeast Culture, celestial lighting by Michael Hulls, an ambitiously created live/recorded soundscore by Jocelyn Pook Read more ...
Ismene Brown
You hear the names of the princes and romantic heroines in ballet, but the global success of 20th-century British ballet had much to do with its dramatic acuity and nuancing, the unexpected side characters who in the ballets of Ashton and MacMillan were vastly more interesting than the stock supporting roles of 19th-century ballet. Alexander Grant was the key man in the growth of sophistication in British ballet in the Forties and Fifties, a character performer of powerful personality, and a performer who could out-dance almost any leading man.He died on Friday, aged 86, in London, and Read more ...
Ismene Brown
Dance is eating itself. Or dancers are eating themselves, rather. It's on-trend to defy the idea of the mute dancer, and instead have them verbally explaining themselves, their motivation, their art. This year’s Dance Umbrella launched last night with the “self-contemplation” of Cédric Andrieux, a handsome blond Frenchman, who regales us in a charming murmur for 80 minutes with the story of his career, with danced illustrations.I have nothing against a chap expressing himself to me, especially when he has as gentle and self-deprecating a delivery as Andrieux, but I'm largely with Ray McCooney Read more ...
Mary Mazzilli
Beijing International Fringe Festival, virtually unheard of in the UK, closed last Sunday after three weeks’ showcasing the best talent in drama, musical theatre, dance and experimental theatre in China. It was conceived in 2008 as a small local festival using university performance spaces to give voice to young directors and young talent. Back then it comprised a mere 10 productions. This year there were 54 productions in 11 venues around Beijing. They ranged from drama and physical theatre to dance and opera; a few workshops and stage readings were also included in the programme. It Read more ...
Ismene Brown
The first half-hour of Edouard Lock’s nameless new piece is some of the most thrilling dance imaginable; dynamic, mercurial, as men and women convulsed with frenzy fight each other in stark spotlights in the dark. They’re dressed in black, so that each flail, each clash, each twitch of a pink pointe shoe trails an outline of blinding light and throws a flashing black shadow. Mile-a-minute in the dark, it’s terrifying.Even more so given that the music being churned through some particularly emulsifying sound system from the small live band behind is neatly based on samples of Purcell’s Dido Read more ...
Ismene Brown
The star ballerina Sylvie Guillem was rehearsing in London when she heard about the cataclysmic Japanese earthquake last spring, and the devastating tsunami in its aftermath. It was an apocalyptic blow that she felt personally. Since her first visit there as a teenager, the internationally renowned dancer has been drawn back to Japan year after year, winning legions of friends and supporters, the culture’s aesthetic clarity and spareness influencing her taste, and complementing her own evolution from classical ballerina assoluta into contemporary dancer stupenda.Her current show, 6000 Miles Read more ...
Ismene Brown
The clips as you load the DVD show women in extremis - women tied to the end of a rope, women being assaulted by mass male groping, women dancing on pointe with bleeding chunks of meat stuffed into their ballet shoes. Pina Bausch’s commentaries on women make her ballets disquieting viewing. Wim Wenders’ film, released as a 3D version in cinemas earlier this year, takes you into those deep, confused questions that Bausch’s dance works put.He had planned to make this film with Bausch, but her sudden death left him bereft. This film therefore became an elegy to her and her company, Tanztheater Read more ...
Ismene Brown
My acid test for whether a show’s worth going to is, specifically, whether it was worth driving 27 miles into town and 27 miles back, spending, say, three or sometimes four hours travelling to see something 80 minutes long. Not often is it worth that. But if it was on in a theatre near you, it would be worth picking up. And so I say for Arthur Pita’s The Metamorphosis.If I lived in London I would not be malcontented to have gone to see it, since Pita is a distinct theatrical talent, rather in Matthew Bourne’s mould, with a showman’s feel for the stage and a considerable skill in entertaining Read more ...
Ismene Brown
On six more occasions you can have an ideal experience of dance by visiting the Degas exhibition at the Royal Academy and then going to see Balanchine’s Jewels at the Opera House. The first part of this trio of abstract ballet gems, Emeralds, evokes the French dancing style of the Paris Opéra where Degas’s deliciously intense dancing girls were employed, and it would do the Royal Ballet troupe good too to be bussed en masse to the RA to absorb the wistfulness of those girls in dawn-pink or sea-blue tutus, endlessly checking their shoes, endlessly waiting, endlessly longing.Last night opened Read more ...
Ismene Brown
Birmingham Royal Ballet’s star Robert Parker has been a ballet dancer and a trainee pilot - and is now to become artistic director of Elmhurst Ballet School in Birmingham, one of the two most important ballet schools in Britain.Known as “nuclear” Robert as a child, the tall, blond dancer has long been the major attraction of BRB for his combination of dynamic dancing and characterful dramatic acting, in an enormous range from classical leads such as Romeo and Prince Siegfried to contemporary ballets by Twyla Tharp and Kim Brandstrup and ballet-drama heros such as King Arthur and Cyrano., two Read more ...