sun 15/09/2019

dance

She Said, English National Ballet, Sadler's Wells

Jenny Gilbert

Why are there so few female choreographers? Tamara Rojo, bugged by the fact that in 20 years on the ballet stage she had never danced anything choreographed by a woman, has stopped wondering and started doing something about it.

Read more...

The Winter's Tale, Royal Ballet

David Nice

It was twelfth night for Christopher Wheeldon's two-year-old, three-act Shakespearean ballet, and this newcomer had one nervous anticipatory question.

Read more...

theartsdesk in Berlin: Three Ballets

Hanna Weibye

In London, seeing the same ballet company do three different pieces in three different theatres over four nights would be some kind of festival. In Berlin, it's just business as usual – albeit quite a busy week! – for the hard-working Staatsballett.

Read more...

Kaash, Akram Khan Company, Sadler's Wells

Hanna Weibye

This new run of Kaash is an interesting test case for Akram Khan Company as its eponymous founder approaches his retirement from stage performance (forecast for next year). Kaash was Khan's first full-length work, created in 2002 and widely acclaimed at the time. But can Khan's older work stand up after 14 years in which Khan has consistently supplied the British dance scene with some of its most riveting shows (DESH, Gnosis, Sacred Monsters)?

Read more...

Giselle, Royal Ballet

Hanna Weibye

One of the secrets to enjoying life is mastering the creative use of disappointment. Many in the Covent Garden audience last night were no doubt deeply disappointed not to be seeing Natalia Osipova's legendary portrayal of the title role in Giselle, injury having removed the Russian superstar from the opening night cast.

Read more...

Voces, Ballet Flamenco Sara Baras, Sadler's Wells

Hanna Weibye

Claims to embody the spirit of flamenco, or to be born with flamenco in one's blood, abound in the programme of the annual Sadler's Wells flamenco festival. Sara Baras, whose show Voces opened the two week festival on Tuesday, doesn't make such a claim in writing: she doesn't need to.

Read more...

Wheeldon Triple Bill, Royal Ballet

Jenny Gilbert

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 the first ever triple bill the Royal Ballet has devoted to its most famous son. It’s the first ballet music Mark-Anthony Turnage has written to order.

Read more...

The Odyssey, Mark Bruce Company, Circomedia, Bristol

mark Kidel

Mark Bruce did very well with his last dance theatre production Dracula, but this time around he has reached a little too far.

Read more...

"...como el musguito...", Pina Bausch, Sadler's Wells

Hanna Weibye

Sitting near the front at a Pina Bausch piece always provokes anxiety.

Read more...

The Return, Circa, Barbican

Hanna Weibye

If you thought circus acrobats and Shostakovich were a daring combination, try circus acrobats and Monteverdi. While the spiky harmonies and vivd dynamics of 20th-century Russian string quartets sit pretty nicely with circus show-offery, surely Baroque music, with its steady continuo basses, its measured rise and fall, is a world away from tumbling tricks and strongman stunts?

Read more...

Pages

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 10,000 pieces, we're asking for £3.95 per month or £30 per year. We feel it's a very good deal, and hope you do too.

To take an annual 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?

latest in today

Last Night of the Proms, Barton, BBCSO, Oramo review – woke...

The BBC put social and ethnic diversity at the heart of this Last Night programme. The concert...

Martin Gayford: The Pursuit of Art review - devotion, distil...

This is a book about experiences that go beyond reading about art. Martin Gayford’s 20 short essays about press trips and self-motivated travel...

The Greek Passion, Opera North - pertinence and power

Martinů's The Greek Passion is a bold choice as a season opener, all the more so given that Opera North are staging the rarely-seen...

Reissue CDs Weekly: Caravan

Last week in central London, the Covent Garden branch of the book and music chain Fopp was selling CD sets branded as “5 Classic Albums” and “...

Temple, Sky 1 review - down in the tube station at midnight

At first, the opening episode of Sky 1’s enticing new...

For Sama review - besieged, bombed, and defiant in Syria

People who idly use the phrase “it’s like living in a war...

Amsterdam, Orange Tree Theatre review - suffocatingly manner...

An excellent director makes a rare misstep with Amsterdam, in which a compelling if tricksy...

Gazelle Twin, Mirth, Marvel and Maud review - sardonic folk

Elizabeth Bernholz, known on stage as Gazelle Twin, comes straight from a line of musical visionaries  rebels and misfits whose...

Phoenix review - Norwegian family tragedy with an autobiogra...

“You’re so meticulous,” says Astrid (Maria Bonnevie) to her teenage daughter Jill (impressive newcomer Yvla Bjørkaas Thedin) as they create a...

The Shock of the Future review - for the music nerds

The Shock of the Future is for anyone who's watched a music...