dance
Armitage Gone! Dance, Queen Elizabeth HallWednesday, 12 October 2011
I wasn’t around to see when Karole Armitage won her spurs in her twenties as a punk ballet choreographer in America in the 1970s and early Eighties, so we must rely on her programme-sheet biography to explain to us that she is “seen by some critics as the true choreographic heir" to George Balanchine and Merce Cunningham. After last night’s dismal showing by her group, Armitage Gone! Read more...
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Emanuel Gat Dance, Brilliant Corners, Sadler’s WellsMonday, 10 October 2011
“Jazz is my adventure,” said Thelonious Monk. “I’m after new chords, new ways of syncopating, new figures, new runs. How to use notes differently. That’s it. Just using notes differently.” Based on the title of the new hour-long piece by Israeli choreographer Emanuel Gat, Brilliant Corners, named for Monk’s 1957 album, the naïve viewer might expect, at the very least, to hear some Monk. Not so. Read more... |
Limen/Marguerite & Armand/Requiem, Royal BalletMonday, 10 October 2011
The cool physical activity of McGregor’s Limen, the crimson passions of Ashton’s Marguerite and Armand, the symbolic sculpture of MacMillan’s Requiem - the weekend's new triple bill at Covent Garden shows three faces of British ballet-making over the past half-century. Read more... |
Merce Cunningham Dance Company, Barbican TheatreFriday, 07 October 2011
Any newcomers to Merce Cunningham who visit the last performances ever in Britain of his modern dance company - renowned, even notorious, for its abstruse abstractness - will surely go away with an impression of laughter, playfulness, the lightness of being. Read more... |
Akram Khan, DESH, Sadler's Wells TheatreThursday, 06 October 2011
It takes more than utmost craft and rich personality to hold the stage as a soloist - it takes a touch of divine self-belief, which Akram Khan has never displayed to more magnetic effect before than in his new solo DESH. Actually solo is too small a word for this epic, lavish display of the starpower that Khan now emits in the world of dance theatre. Read more... |
Jérôme Bel, Cédric Andrieux, Royal Opera House Linbury StudioTuesday, 04 October 2011
Dance is eating itself. Or dancers are eating themselves, rather. It's on-trend to defy the idea of the mute dancer, and instead have them verbally explaining themselves, their motivation, their art. This year’s Dance Umbrella launched last night with the “self-contemplation” of Cédric Andrieux, a handsome blond Frenchman, who regales us in a charming murmur for 80 minutes with the story of his career, with danced illustrations. Read more... |
La La La Human Steps, New Work, Sadler's WellsThursday, 29 September 2011
The first half-hour of Edouard Lock’s nameless new piece is some of the most thrilling dance imaginable; dynamic, mercurial, as men and women convulsed with frenzy fight each other in stark spotlights in the dark. They’re dressed in black, so that each flail, each clash, each twitch of a pink pointe shoe trails an outline of blinding light and throws a flashing black shadow. Mile-a-minute in the dark, it’s terrifying. Read more... |
The Metamorphosis, Linbury Studio Theatre, Royal Opera HouseThursday, 22 September 2011
My acid test for whether a show’s worth going to is, specifically, whether it was worth driving 27 miles into town and 27 miles back, spending, say, three or sometimes four hours travelling to see something 80 minutes long. Not often is it worth that. But if it was on in a theatre near you, it would be worth picking up. And so I say for Arthur Pita’s The Metamorphosis. Read more... |
Jewels, Royal BalletWednesday, 21 September 2011
On six more occasions you can have an ideal experience of dance by visiting the Degas exhibition at the Royal Academy and then going to see Balanchine’s Jewels at the Opera House. Read more... |
TeZukA, Sadler's WellsThursday, 08 September 2011
Edit, edit. Inside TeZukA there’s a charming, elliptical, hugely stylish piece begging to be sliced and trimmed into focus - just as the manga master Osamu Tezuka must have daily occupied himself with as he prepared his graphic cartoons. The visuals in Sidi Larbi Cherkaoui’s piece are spectacular video animations of Tezuka’s fastidiously drawn scenes, the kerpows and the Zen landscapes, Black Jack, the transfigured rabbit. Read more... |
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