wed 28/02/2024

dance

Rumpelstiltskin, Sadler's Wells Digital Stage review - spins an engaging yarn for young audiences

Marianka Swain

The latest in Sadler’s Wells’ Digital Stage programme – an impressively assembled online offering to keep audiences entertained during the shutdown – is balletLORENT’s family-friendly dance-theatre production Rumpelstiltskin. It was streamed as a "matinee" on Friday afternoon, and is avail

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Richard Alston Dance Company, Final Edition, Sadler's Wells review - farewell and thank you, Sir Richard

Jenny Gilbert

Hard as it is to imagine the British dance landscape without Richard Alston, we’re going to have to get used to it.

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Isadora Now, Barbican Theatre review - a little piece of history

Jenny Gilbert

Mention Isadora Duncan and the best response you’re likely to get is “Wasn’t she that dancer who died when her scarf got caught in the wheels of a Bugatti?” The closing scene of the 1968 biopic starring Vanessa Redgrave seems to have blotted out everything Duncan actually achieved.

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Alina, Sadler's Wells review - I think therefore I dance

Jenny Gilbert

It’s common to see the term “vanity project” applied to self-produced shows by ballet stars, but Alina – the first such London venture by Alina Cojocaru – was quite the opposite of vain.

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Message in a Bottle, Peacock Theatre review - a hiphop singalong

Jenny Gilbert

It’s hard enough to imagine hip hop set to the songs of Sting, but a hip hop show in which 27 songs by Sting laid end to end are made to tell a story about refugees? That’s the unlikely latest offering from the choreographer Kate Prince.

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The Cellist/Dances at a Gathering, Royal Ballet review - A grand love affair with a cello

Jenny Gilbert

The cello is the stringed instrument most closely aligned to the human voice. It has a human shape, too, so in theory it was a short step for choreographer Cathy Marston to give it a living, breathing presence in her ballet about the legendary cellist Jacqueline du Pré. But what a giant leap of imagination that turned out to be.

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Bluebeard, Tanztheater Wuppertal Pina Bausch, Sadler's Wells review - bleak but ground-breaking

Jenny Gilbert

When Pina Bausch died at the height of her creative powers in 2009, no one knew if her work or her company would survive. A decade later, to judge by the scramble for tickets for this early, highly experimental piece, both seem to be doing just fine.

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Michael Keegan-Dolan, MÁM, Sadler's Wells review - folk goes radical

Jenny Gilbert

The Dingle Peninsula is a thumb of land that protrudes into the Atlantic as if trying to hitch a ride from Ireland to America.

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English National Ballet 70th Anniversary Gala, Coliseum review - a fine celebration

Sue Gaisford

Just when you thought Christmas was well and truly over, along comes another box of delights. And there isn’t a disappointment in it. If it were nuts, there’d be nothing but cashews; if chocolates, there wouldn’t be a single disgusting lime-cream. It would be all Ferrero Rochers, gift-wrapped. English National Ballet’s 70th birthday party opened and closed with class, in every sense.

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Onegin, Royal Ballet review - vivid and intelligent dance drama

Nadine Meisner

It’s no surprise that audiences love John Cranko’s Onegin, with its vividly economical narrative (close to Tchaikovsky’s opera), attractive decors by Jürgen Rose, and intelligent drama. True, it feels a tad old-fashioned – although that, as my neighbour observed, is part of the charm.

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