dance
Kontakthof, Tanztheater Wuppertal Pina Bausch review - struggling to make contactSaturday, 05 February 2022
Twelve years may have passed since her earthly demise, but you still hear people say they saw Pina Bausch the other night. Bausch remains synonymous with the company she founded, Tanztheater Wuppertal, and with a style of dance theatre that launched an entire new category. Read more... |
Raymonda, English National Ballet, Coliseum review - a creaky old standard, lavishly restored to healthFriday, 21 January 2022
Neglected classics, whether books, plays or ballets, are usually neglected for a reason, and so it is with the three-act ballet Raymonda. A hit in 1898 for the Imperial ballet in St Petersburg but unperformed in this country since the 1960s, its ineffectual heroine, fuzzy sense of geography and offensively silly plot have made it impossible to stage in full – at least in Britain. Read more... |
Best of 2021: DanceWednesday, 29 December 2021
It was never going to be a bumper year, just a bumpy one. With theatres dark until May or later, the usual 11 or 12 months of potential live-dance going was reduced to four or five. There was one bright shaft of optimism in late spring, and another in the autumn, when the gloom-clouds parted to allow a few weeks of almost-normality. But now we seem to have come full circle. Read more... |
Matthew Bourne's Nutcracker!, Sadler's Wells Theatre review - new candy, but the nuts are offFriday, 17 December 2021
The legendary quip of a sophisticated ballet critic that we are all one Nutcracker nearer death never rang so true as now. One goes to the theatre with one’s heart in one’s mouth, behind the partypooping mask. Read more... |
Starstruck, Scottish Ballet review - smart, sassy and cinematicFriday, 03 December 2021
How do you picture Gene Kelly? Most likely in his effervescent screen persona, either as the burly ex-GI of An American in Paris, or as the hoofer without a raincoat in Singin’ in the Rain. Read more... |
Past Present, Linbury Theatre review - historic, but very much aliveThursday, 25 November 2021
Not so long ago, a few decades at most, anyone with a passing interest in dance knew what “modern” looked like. It was earthbound, usually barefoot, and it focussed on mundane movements such as walking or lying down as often as it looked like dance. It sometimes even turned up its nose at being seen in a theatre. Read more... |
Ballet Black, Linbury Theatre review - an essential part of the landscapeFriday, 12 November 2021
The colour of a shoe might seem a trivial thing. But when in 2018 the dancewear manufacturer Freed launched the UK’s first range of pointe shoes to match darker skin tones, true equal opportunity in British ballet came a big step closer. Read more... |
Curated by Carlos, Birmingham Royal Ballet, Sadler's Wells review - a star turnSaturday, 06 November 2021
When a great performer takes on the running of a ballet company, the effect on its dancers can be transformative. It happened when Mikhail Baryshnikov took on American Ballet Theatre in the 1980s. It’s been happening at English National Ballet since 2012 under Tamara Rojo. Read more... |
L'Heure Exquise, Linbury Theatre review - an exquisite tragedy in miniatureWednesday, 20 October 2021
Ballet dancers, even the greatest, don’t expect longevity. There are no Maggie Smiths or Helen Mirrens in the ballet world – there just aren’t the roles. So the news that Alessandra Ferri was to mark the 40th anniversary of her association with the Royal Ballet (she joined aged 17) with a run of performances of a one-woman show was of more than passing interest. Read more... |
Bernstein Double Bill, Opera North review - fractured relationships in song and danceMonday, 18 October 2021
Leonard Bernstein’s one-act opera Trouble in Tahiti enjoyed a relatively trouble-free gestation, at least compared to his other stage works. Its seven short scenes last around 50 minutes, Bernstein providing his own libretto and completing much of this acerbic, occasionally bitter study of a marriage in crisis whilst on his own honeymoon in 1951. Read more... |
Pages
latest in today
Help to give theartsdesk a future!
It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
This is My Family, Southwark Playhouse - London debut of 201...
MOR. Twee. Unashamedly crowdpleasing. Are such descriptors indicative of a tedious night in the stalls? For your reviewer, who has...
Alan Sparhawk, EartH Theatre review - an absorbing game of t...
For the first half-hour of this show – on the day before the release of his new album Alan Sparhawk With Trampled by Turtles – Alan...
10 Questions for musician Michael Gira
Michael Gira (born 19/2/54) is an American singer-songwriter, composer, author and artist. He founded Swans, a band in which he sings and plays...
Album: Miley Cyrus - Something Beautiful
A couple of months ago, I wrote here that Lady Gaga was the godmother of the new generation of ostentatiously “theatre kid” pop stars – but...
The Rise and Fall of Michelle Mone, BBC Two - boom and bust...
As this two-part documentary vividly illustrates, it...
Album: Garbage - Let All That We Imagine Be The Light
Garbage’s eighth album, Let All That We Imagine Be the Light, arrives with weighty intentions and a strong sense of purpose, but the end...
The Salt Path review - the transformative power of nature
“I can’t move my arms or legs but apart from that I’m good to go.” Moth (Jason Isaacs) has to be pulled out of the tent in his sleeping bag by his...
The Flying Dutchman, Opera Holland Park review - into the st...
Thankfully, Julia Burbach’s version of The Flying Dutchman for Opera Holland Park doesn’t try to be one of those concept-laden...
The Frogs, Southwark Playhouse review - great songs save upd...
As a regular theatregoer, you learn pretty quickly that there’s no story too bizarre to work as a...