thu 20/06/2019

dance

Michael Clark Company, Barbican Theatre review - bad boy of dance comes good

Jenny Gilbert

If there were an arts award for loyalty, the Barbican Theatre would surely win it for having kept faith with Michael Clark. It’s no secret that the bad-boy image that has clung to Clark since his punk extravaganzas in the 1980s had consequences in his personal and creative life, forcing frequent "early retirements".

Read more...

Kenneth MacMillan, Royal Opera House review - a sprite proves merciless

Hanna Weibye

There are different ways of celebrating a great artist’s legacy, and I suppose they have to coexist. One approach is raptly to admire his or her acknowledged masterpieces, the equivalent of making straight for Guernica or the Mona Lisa.

Read more...

A Celebration of Sir Kenneth MacMillan, Northern Ballet review - a brave and worthy tribute

Hanna Weibye

Northern Ballet do a challenging job really well: on a mid-scale touring company budget and doing all the things mid-scale touring companies have to do (tour, obviously, but also outreach and audience-building and Christmas ballets for children), they manage to create a constant stream of new work, and have built up a real competence in storytelling on stage.

Read more...

Alice's Adventures in Wonderland, Royal Ballet review - a feast of visual delights

Hanna Weibye

I can imagine Monica Mason, the artistic director who commissioned Christopher Wheeldon's 2011 Alice, feeling pretty pleased with herself as she looked around the Covent Garden auditorium last night at an audience buzzing with excitement for the first performance of...

Read more...

Akram Khan's Giselle, Sadler's Wells review - the migrant crisis in a ballet thriller

Jenny Gilbert

Of the many good reasons for seeing Akram Khan’s 2016 remake of Giselle – his work is often a headline event, for one – the most compelling is the company performing it. English National Ballet used to be the poor relation of its plusher sister national flagship in WC2. Not any more.

Read more...

La Bayadère, Mariinsky Ballet review - a parade of delights

Hanna Weibye

There are half as many performances of La Bayadère in this Mariinsky tour as performances of Swan Lake (four vs eight).

Read more...

Contrasts, Mariinsky Ballet review - company shows off range of its powers

Hanna Weibye

There are two approaches to a triple bill: make all three pieces similar so you get one crowd with definite tastes, or make them very different so you have a chance of pleasing everyone. The Contrasts bill that the Mariinsky ballet showed at the Royal Opera House was, as its title suggests, firmly in the latter camp.

Read more...

Swan Lake, Mariinsky Ballet review - Xander Parish lacks the spark of wildfire

Hanna Weibye

It's a Cinderella story: Xander Parish was plucked from obscurity in the Royal Ballet corps and trained by the Mariinsky to dance the greatest roles in the repertoire.

Read more...

Don Quixote, Mariinsky Ballet review - gentle charm, impressive principals

Hanna Weibye

One of the most Russian things you can do in ballet is dance Don Quixote, which is 100 percent set in Spain. Don't think too hard about it, and definitely don't think too hard about the plot (which is barely there).

Read more...

Scottish Ballet, Sadler's Wells review - striking and memorable dance

Hanna Weibye

Years ago, MC14/22 (Ceci est mon corps), the Angelin Preljoçaj piece with which this Scottish Ballet double bill opens, made a deep impression on Christopher Hampson.

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

CD: Bedouine - Bird Songs of a Killjoy

With her timeless vocals and jazz-inflected folk melodies, it feels like a bit of Los Angeles songwriter Bedouine lives in the...

Bitter Wheat, Garrick Theatre review - Malkovich monologue i...

John Malkovich is back in town - and he's starring in the most controversial play of the year. Trouble is, it might well also be the worst. When...

Download Festival: downpours can't dampen spirits at me...

Download is Britain’s premier metal festival, attended by all ages. Theartsdesk’s three person team offer up their reviews of one day each, as...

Years and Years, Series Finale, BBC One review - soggy endin...

As Russell T Davies’s doomsday odyssey reached its endgame...

Soweto Kinch, Jazz Cafe review - instant karma in Camden

Camden’s Jazz Cafe reverberated to the sounds of a 50-year-old spiritual...

Cutting Edge: Modernist British Printmaking, Dulwich Picture...

Under a turbulent sky racked with jagged clouds suggesting bolts of lightning, pale figures hurl themselves into a spitting expanse of water....

Citysong, Soho Theatre review - big writing, big heart

Irish playwright Dylan Coburn Gray's new play won...

Milton Nascimento, Barbican review – besotted audience hails...

Milton Nascimento is 76. Physically, he is quite frail; he had to be helped carefully onto the stage and then up into a high stool for this London...

Ackley Bridge, Series 3, Channel 4 review - we gotta get out...

In the Yorkshire town of Ackley Bridge, education is like...