Hush/ Awakenings/ Cardoon Club, Rambert Dance, Sadler's Wells

Hush/ Awakenings/ Cardoon Club, Rambert Dance, Sadler's Wells | reviews, news & interviews

Hush/ Awakenings/ Cardoon Club, Rambert Dance, Sadler's Wells

A new Christopher Bruce masterpiece: Rambert strikes it right again

by Judith FlandersWednesday, 10 November 2010

Estela Merlos in Henrietta Horn's 'Cardoon Club'Photo: Eric Richmond/Rambert

“Nice is different from good,” sings one of Stephen Sondheim’s characters. And mostly, it is different, “nice” rarely being “good”. Christopher Bruce, however, blows that theory right out of the water, because Hush, his 2006 piece which opens Rambert’s Sadler’s Wells season, is both good and nice. And that’s much more remarkable than it seems: attempting to find the beauty, the depth and the radiance of “good” has caused many great artists to stumble. That Bruce achieves his goals with such serenity and power seems little short of miraculous.

In Collins’s beautiful piece, all of Sacks’s cleverness has been pushed to one side, and we are left with the haunting story

Buy

Explore topics

Share this article

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Dance

Help to give theartsdesk a future! Support our GoFundMe appeal

The Forsythe Programme, English National Ballet review - brains, beauty and bravura Once again the veteran choreographer and maverick William Forsythe raises ENB's game

Sad Book, Hackney Empire review - What we feel, what we show, and the many ways we deal with sadness A book about navigating grief feeds into unusual and compelling dance theatre

Balanchine: Three Signature Works, Royal Ballet review - exuberant, joyful, exhilarating A triumphant triple bill

Romeo and Juliet, Royal Ballet review - Shakespeare without the words, with music to die for Kenneth MacMillan's first and best-loved masterpiece turns 60

Light of Passage, Royal Ballet review - Crystal Pite’s cosmic triptych powers back Total music theatre takes us from the hell of exile to separation at heaven’s gates

Vollmond, Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz, Sadler's Wells review - clunkily-named company shows its lighter side A new generation of dancers brings zest, humour and playfulness to late Bausch

Phaedra + Minotaur, Royal Ballet and Opera, Linbury Theatre review - a double dose of Greek myth Opera and dance companies share a theme in this terse but affecting double bill

Onegin, Royal Ballet review - a poignant lesson about the perils of youth John Cranko was the greatest choreographer British ballet never had. His masterpiece is now 60 years old

Northern Ballet: Three Short Ballets, Linbury Theatre review - thrilling dancing in a mix of styles The Leeds-based company act as impressively as they dance

Best of 2024: Dance It was a year for visiting past glories, but not for new ones

Nutcracker, English National Ballet, Coliseum review - Tchaikovsky and his sweet tooth rule supreme New production's music, sweets, and hordes of exuberant children make this a hot ticket

Follow @theartsdesk