dance
Swan Lake, ENB, Royal Albert HallWednesday, 09 June 2010
Within two bars of the overture starting, the first flashes could be seen. English National Ballet’s arena Swan Lake at the Albert Hall - they make no bones about it now - is intended for people who rarely go to the ballet. Actually it is in many cases for people who have no compunction about talking and taking pictures through the ballet quite routinely. Read more...
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Michael Clark Company, Come, Been and Gone, BarbicanTuesday, 08 June 2010
A second coming for Michael Clark's recent Barbican commission Come, Been, Gone. Eight months after the London premiere (on which I opined unenthusiastically below last October), he has added another 20 minutes of choreography, they said, with new costumes and artworks. The revision is also now artfully retitled Come, Been and Gone. Not comma-Gone. And Gone. Makes all the difference. Read more... |
Kabuki, Sadler's WellsFriday, 04 June 2010
It is hard to think of anything more "foreign" than kabuki to the Anglo style of acting, a style which reveres naturalism and makes "reality" its ultimate aim. Yet kabuki is gaining a knowledgeable – and welcoming – audience in London. The Shochiku Kabuki Company was at the Barbican last year, performing in Yukio Ninagawa’s brilliant Twelfth Night, and Sadler’s Wells have become almost regular hosts of Japanese performers. Read more... |
Royal Ballet New Works, Linbury Studio Theatre, ROHFriday, 04 June 2010
Ninette de Valois said the solution to a shortage of choreographic talent was this: “You wait.” Waiting through the Nineties and early Noughties proved the Royal Ballet founder’s point - suddenly new distinctive ballet talent is cropping up all over the place. Taking the pressure off Christopher Wheeldon and Wayne McGregor, young Liam... Read more... |
Chroma/ Tryst/ Symphony in C, Royal BalletMonday, 31 May 2010
A Balanchine on a mixed bill is a reminder of what a choreographer should desire to offer his audience: a specific new experience of art each time, not a repeated thumbprint in every ballet. Balanchine grew up in a borderless theatre country - jazz, music hall, Broadway, Cubism, Russian imperialism, folklore, classical piano studies, all soaked his personality and fed his imagination. Read more... |
Christopher Wheeldon premiere, New York City BalletSunday, 30 May 2010
What is going on at New York City Ballet, home of the abstract, neo-classical, pared-down, no-scenery, no-story, nothing-extraneous aesthetic that George Balanchine made into an artistic religion? So far, three out of the four pieces commissioned for the company’s ambitious “Architecture of Dance” festival have been - more or less - story ballets (only Wayne McGregor has resisted the lure). Read more... |
The Art of Touch/ Rainforest/ A Linha Curva, Rambert, Sadler's WellsTuesday, 25 May 2010
There are occasionally pieces of dance that you just want not to have to scribble notes about, just to watch and enjoy through your senses, not perming it all through the verbal brain. Siobhan Davies’s The Art of Touch is one of those, and when her company went into something of a creative abeyance to focus on producing a new dance community centre, this was one of Davies’s... Read more... |
BABEL (words), Sidi Larbi Cherkaoui & Antony Gormley, Sadler's WellsTuesday, 18 May 2010
Collaborations for dance, theatre and other things are coming thick and fast at Sadler’s Wells nowadays - these are not halcyon days for pure choreography. Read more... |
Wayne McGregor & Alexei Ratmansky premieres, New York City BalletSunday, 16 May 2010
In the New York City Ballet’s grand tradition of ambitious festivals of new work, its current offering, Architecture of Dance, is a big, ambitious deal: seven new ballets; four of them to commissioned scores; five sporting sets by the famed architect Santiago Calatrava. Read more... |
Mathilde Monnier and La Ribot, Queen Elizabeth HallSunday, 09 May 2010
These past five days in May have seen some fairly oddball goings-on labelled as "New Dance at the Southbank Centre". Accidentally coinciding with other oddball goings-on on the national scene, since it was booked up long ago before elections were called. But no double-act in politics is likely to be quite as peculiar and weirdly stimulating as that between the Spanish cabaret artiste La Ribot (often to be found nude) and the postmodern French choreographer Mathilde Monnier, playing two sides of... Read more... |
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