dance
Sampling the Myth, Royal BalletMonday, 08 September 2014
The Royal Opera House is on fire this month. Not literally (unless someone knocks over the flaming braziers outside) but with the varied illuminations of the Deloitte Ignite Festival, co-curated by the Royal Ballet and Minna Moore Ede of the National Gallery. The theme this year is Myth, and specifically Leda's rape by Zeus in swan form, and Prometheus's gift of fire to humanity. Read more... |
Edinburgh Fringe 2014: Circa, BeyondThursday, 28 August 2014
Once, the Edinburgh Festival Fringe was all about penniless students presenting avant-garde plays to audiences of three in church halls. These people still come, but now they compete for attention with professional production companies who, it’s to be supposed, make a decent whack of money from their three weeks in Scotland’s tourist-jammed capital. Read more... |
Patrias, Paco Peña Flamenco Company, Edinburgh PlayhouseThursday, 28 August 2014
Dance as an art form doesn’t have a great track record in social and historical commentary. The endless grey areas, not to mention the complicated details, of history really require words to do them justice. Flamenco, of course, has words, but it’s still a highly emotive art form, one you might think unlikely to produce a subtle take on the theme of homeland. Read more... |
Sweet Mambo, Tanztheater Wuppertal Pina Bausch, Edinburgh PlayhouseSunday, 24 August 2014
The Edinburgh Playhouse is the largest UK theatre regularly used for dance. The stalls alone seat more than the total capacity of Sadler’s Wells, and the two circles combined seat even more again, for a maximum audience of 3,059. Read more... |
Edinburgh Fringe 2014: MurleyDanceThursday, 21 August 2014
MurleyDance is something of an oddity in the world of small independent dance companies, in that it proudly wears pointe shoes. Yes, this is – according to its own publicity - the only professional classical ballet company attending the Fringe, and Artistic Director David Murley is playing that uniqueness for all he’s worth, issuing a press release calling for more ballet companies to attend Edinburgh’s annual arts circus. Read more... |
Gnosis, Akram Khan, King's Theatre, EdinburghWednesday, 20 August 2014
In keeping with the trends of recent years, the Edinburgh International Festival is showcasing a small but eclectic dance programme, light on classical ballet and heavy on contemporary, international and fusion. After choreographer Mark Baldwin’s collaboration with Ladysmith Black Mambazo last week, the festival is now playing host to what may be the final performances of Akram Khan’s bill Gnosis, which was a huge hit when it premiered at Sadler’s Wells in 2009. Read more... |
Cinderella, Mariinsky Ballet, Royal Opera HouseMonday, 18 August 2014
It sure feels like longer than three weeks since the Mariinsky rolled into town – at least if you’re one of London’s ballet fans. Non-balletomanes might be wondering whether the feverish intensity with which the company’s doings are followed, its form analysed, its health diagnosed, is disproportionate, a case of collective hysteria stoked by cultural stereotypes about Russians and the absence of other ballet offerings in late summer. Read more... |
Firebird/ Marguerite and Armand/ Concerto DSCH, Mariinsky Ballet, Royal Opera HouseTuesday, 12 August 2014
This was the most eagerly anticipated programme of the Mariinsky visit - something old, something borrowed and something new. Read more... |
Apollo/ A Midsummer Night's Dream, Mariinsky Ballet, Royal Opera HouseMonday, 11 August 2014
The ballerina claque wars that generally accompany visits here by the Mariinsky Ballet are raging particularly feverishly this year, but it all falls silent when Uliana Lopatkina makes one of her increasingly rare appearances. So much noise is focused on legginess or hip flexibility of these size-zero ballerinas, and yet the Mariinsky knows more than any other company in history that it is not body but mind that matters in the final analysis. Read more... |
Solo for Two, Osipova/Vasiliev, London ColiseumThursday, 07 August 2014
Mounting a contemporary dance show together doesn’t seem like the best way to get over your ex, even if you are (or rather, were) ballet’s most fabulously marketable couple. Read more... |
Pages
latest in today
Help to give theartsdesk a future!
It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
Müller-Schott , RSNO, Søndergård, Usher Hall, Edinburgh - sp...
There was a neat conjunction of commemorations to this concert, the most obvious one being the fact that that 2025 marks the 50th anniversary of...
Hamad Butt: Apprehensions, Whitechapel Gallery review - cool...
Hamad Butt studied at Goldsmiths College at the same time as YBAs (Young British Artists) like Damien Hirst and Gillian Wearing; but whereas they...
Album: Van Morrison - Remembering Now
When Van Morrison last released an album of original songs, during the Covid pandemic, it didn’t go down well. Indeed for many,...
Ballerina review - hollow point
John Wick’s simple story of a man and his dog became a bonkers, baroque franchise in record time, converting Keanu Reeves’ limited acting into Zen...
Caroline, Islington Assembly Hall review - south London octe...
In 2022 I called caroline “perhaps the best band in the U.K” in my article about their debut, which I named my album of the year....
theartsdesk in Fes - world music central
With WOMAD not happening this year, where could one go for a feast of...
Songhoy Blues, Hare & Hounds, Birmingham review - West A...
No-one needs to be living in Trump’s USA to be aware that governments never feel that it’s in their interest to prioritise great art and music...
Album: Pulp - More
While the Gallagher brothers scrabble around in the dirt for their rich pickings, an altogether more...