dance
Nutcracker, English National Ballet, London ColiseumThursday, 12 December 2013
This production of Nutcracker, the 10th in English National Ballet's 60-year history, has come in for some stick in the three years since its première. Wayne Eagling, the company’s then director, produced the choreography in rather too much of a hurry, as anyone will remember who watched the third episode of Agony and Ecstasy, the BBC’s 2011 documentary about the company, in which the birth of Nutcracker was definitely filed under agony Read more...
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The Nutcracker, Royal BalletWednesday, 04 December 2013
When dealing with the big beasts of the classical repertoire, the Royal Ballet has a history of both playing it straight and playing it very, very well. Read more... |
The Taming of the Shrew, Stuttgart Ballet, Sadler's WellsSunday, 24 November 2013
“Comedy in ballet can be notoriously difficult to get right.” So warns the programme note for The Taming of the Shrew, choreographer John Cranko’s 1969 adaptation of Shakespeare, with which Stuttgart Ballet chose to end their run at Sadler’s Wells this week. Read more... |
Made in Germany, Stuttgart Ballet, Sadler's Wells TheatreTuesday, 19 November 2013
Stuttgart Ballet, one of Europe's most highly respected companies, is clearly determined to show London its best sides – all of them. Thirteen pieces in one performance is less a mixed bill than a tasting menu, and one that aims to impress: this smorgasbord of pieces were all choreographed for the company, and more than half have not been performed in the UK before. Read more... |
Chroma/ The Human Seasons/ The Rite of Spring, The Royal BalletSunday, 10 November 2013
This triple bill is of works commissioned for the Royal Ballet: Kenneth MacMillan’s The Rite of Spring was first performed in 1962, Wayne McGregor’s Chroma had its debut in 2006 while this is the world premiere of David Dawson’s first ballet for Covent Garden, The Human Seasons. Read more... |
Milonga, Sidi Larbi Cherkaoui, Sadler's WellsFriday, 08 November 2013
Can tango ever really be interesting as a pure dance stage show? After all, like most forms of social dance, its truest incarnation is in the fleeting and contingent encounters of the dance hall, the public ball, the open-to-all-comers late night bar. Read more... |
Hofesh Shechter, Sun, Sadler’s WellsThursday, 31 October 2013
The first time you see a Shechter piece, you feel it, literally as well as figuratively: percussive is a mild word for his forceful choreography, the stamping, churning, yearning of his sweeping shapes and rhythms. Percussive is the music, too (Shechter played drums in a rock band), which he co-writes, and it is played at volumes that make it vibrate through the theatre. Read more... |
In A Deep Dark Wood, Gobbledegook and Moko Dance, Lilian Baylis Studio TheatreSaturday, 26 October 2013
Most children's theatre productions are usually either heavily branded (think Peppa Pig's roadshow) or - particularly with dance - saccharine to the point of patronising (think My First Cinderella). It is refreshing then, to see a kid's company that brings contemporary dance in its most organic form, to children. And reassuring to see that they can totally handle it. Read more... |
Rambert Triple Bill, Sadler's WellsWednesday, 23 October 2013
After a busy year, moving their headquarters from Chiswick to new premises on the South Bank, Rambert dance company have managed to keep momentum working with stalwarts such as Ashley Page and Mark Baldwin as well as branching out with exciting new choreography by Barak Marshall. Read more... |
Le Corsaire, English National Ballet, Milton Keynes TheatreFriday, 18 October 2013
It’s been a good year for the colourful side of classical ballet in England. Anyone who thought the 19th-century greats were all about swans, sylphs and wilis, ghostly in clouds of white tulle, will have reconsidered after seeing two productions of La Bayadère (idols in India) and two of Don Quixote (castanets in Castile), both of which are not so much spectral as full spectrum. Read more... |
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