wed 20/03/2019

dance

Unbound: A Festival of New Works, War Memorial Opera House, San Francisco review - ballet invests in its future

Jenny Gilbert

You have to hand it to the Americans: they think big. Where the Royal Ballet or ENB might put on three or four new works in the course of a season – because commissions are wildly expensive and a box office risk – San Francisco Ballet has just presented a dozen in the space of two weeks. What’s more, the 12 invited choreographers – four of them Brits or British trained – were given virtually carte blanche to create whatever they liked.

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Formosa, Cloud Gate Dance Theatre of Taiwan, Sadler’s Wells review - perfect in every detail

Sarah Kent

Whatever you do in the next couple of days, be sure to grab a ticket for this wonderfully atmospheric production. A glorious fusion of athletic dance, creative visuals and intoxicating sound, the piece pays tribute to the island of Taiwan, named Formosa ("beautiful") by Portuguese sailors in the 16th century, and home to Cloud Gate Dance Theatre.

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Hofesh Shechter Company: Grand Finale, Brighton Festival review - politics, percussion and powerful choreography

Katie Colombus

There is a sense of loyalty from the Brighton audience awaiting Hofesh Shechter’s new work.

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Ballet's Dark Knight - Sir Kenneth MacMillan, BBC Four review – hagiography and home videos

Hanna Weibye

If you came to this programme knowing nothing about the choreographer Kenneth MacMillan, you may have learned a few things. That he died, tragically and rather dramatically, of a massive heart attack during a first night performance of one his own ballets. That he was "interested" in sex and death, and frequently choreographed violent forms of both in his ballets.

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Obsidian Tear / Marguerite and Armand / Elite Syncopations, Royal Opera House review - an evening of high-performance mismatch

Jenny Gilbert

One day someone will come up with an algorithm for the perfectly balanced triple bill. Until then ballet directors will have to make do with hit or miss. The Royal Ballet’s latest three-part offering would appear to tick the boxes: something old, something new-ish, and something just for fun.

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Voices of America, English National Ballet review - a punchy programme of contemporary ballet

Hanna Weibye

A new William Forsythe ballet is quite a coup for English National Ballet; the choreographer hasn't made a piece in Britain in 20 years.

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Sutra, Sadler’s Wells review – a masterpiece 10 years on

Sarah Kent

Sutra is back, 10 years after its premier at Sadler’s Wells. This is, in fact, the fourth time it has returned to London and such is the amazing popularity of this beguiling show that, in the past decade, it has been performed more than 200 times in 66 cities in 33 countries. 

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Richard Alston, Mid Century Modern, Sadler's Wells review - a master choreographer clocks up 50 years

Jenny Gilbert

It took Richard Alston 10 years to start making dances to music. Until the late Seventies he preferred silence, or a Rolodex of scores that he swapped and switched. In this you might say he was a typical product of the time. The fact is more remarkable in relation to his later and more lasting status, for few would deny that Alston has for many years been the most musically astute choreographer working in Britain.

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Bernstein triple bill, Royal Ballet review - epic ambitions unfulfilled

Hanna Weibye

The Royal Ballet last night presented an evening of Bernstein-scored ballets, two of them premieres by Wayne McGregor and Christopher Wheeldon and the other a revival of Liam Scarlett's 2014...

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Macbeth, Wilton's Music Hall review - incisive and thrilling dance theatre

Jenny Gilbert

There’s more than a touch of vaunting ambition in the idea of turning the Scottish Play into dance theatre. Without spoken text, named scenes or even a printed synopsis, it falls to choreography and direction to speak for them all.

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