dance
Ashton triple bill, Royal Ballet review – fond farewell to Zenaida YanowskySaturday, 03 June 2017
Nicely covering the many bases of Frederick Ashton's genius, the Royal Ballet triple bill which opened last night is a chance to see both the company and its founder choreographer on top form. Read more...
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m¡longa, Brighton Festival review - sensual tango explosionSaturday, 20 May 2017
Watching tango dancers Gisela Galeassi and Nikito Cornejo own the apron of the stage during the second half of m¡longa, the brain finds it difficult to process what the eyes are seeing. The pair seem to be one writhing, dark-toned dervish of jutting, sensual, passionate movement. Back and forth they go, he spinning her round his body like a silk scarf, fluid as mercury; her feet attacking the stage, staccato, kicking out, kicking down, so fast it really is the proverbial blur. Nigh... Read more... |
Symphonic Dances, Royal Ballet review - a truly interesting creationFriday, 19 May 2017
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 Royal Opera House. Read more... |
Ghost Dances: Rambert, Sadler's Wells review - vital and joyfully precise dancingWednesday, 17 May 2017
There is a South American theme to Rambert’s latest triple bill, two new commissions made to chime with an oldie but goldie, the rhythms of Latin social dances linking all three. Read more... |
Mayerling, Royal Ballet review - 'every ballet fan should see this'Saturday, 29 April 2017
Sure, there are things not to like about Kenneth MacMillan's Mayerling. Confusing plot. Plethora of characters. Unsympathetic (anti-)hero. Borderline melodramatic choreography. Tense, scary dénouement. But to be at the Royal Opera House last night was to be convinced that Mayerling's merits far outweigh its demerits. Read more... |
Betroffenheit, Crystal Pite & Jonathon Young, Sadler's WellsWednesday, 12 April 2017
Where does my voice come from? Whose is my body? It’s apt that these questions run deep through a work that was created jointly by an actor, Jonathon Young, and a choreographer, Crystal Pite. Read more... |
Matthew Bourne's Early Adventures, Sadler's WellsWednesday, 05 April 2017
Not every artist attains the kind of status that will allow their early works to be revived – or, when revived, greeted with commercial and critical success. This is something of a shame for those of us with a historical mindset who like seeing where an artist has come from and how they have developed. Read more... |
Balanchine's Jewels, Royal BalletMonday, 03 April 2017
Balanchine's Jewels is catnip to dedicated ballet lovers. Read more... |
Pina Bausch's Rite of Spring, English National Ballet, Sadler's WellsFriday, 24 March 2017
Is English National Ballet's current predilection for acquiring European repertoire some kind of anti-Brexit statement, or just smart brand positioning? Read more... |
Crystal Pite, Flight Pattern, Royal BalletFriday, 17 March 2017
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. Read more... |
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