Dance
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.She has form in this area. Into the Hoods introduced hip hop to Sondheim and Some Like it Hip Hop filched a plot from Shakespeare. Both were bright, funky, funny shows and it was easy to see why the mashup worked. Now she has wrangled streetdance and a string of jukebox hits into what is without doubt the most desperate story of our age, and frankly, it’s a Read more ...
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.Marston’s first work for the main stage of the Royal Opera House, The Cellist is no straightforward biography, still less does it touch on the torrid accusations that fuelled the film Hilary and Jackie, which was based on a book by her siblings and vehemently disputed Read more ...
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.Bluebeard, from 1977, is a test of loyalty for even the most ardent Bausch fan. A response to Bartok’s opera about a serial wife-murderer and his last victim, it has none of the humour, nostalgia or scenic extravagance of her later pieces. Unremittingly dark, it’s a tough watch. It’s a tough listen too as Bartok’s richly textured music, relayed by Read more ...
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. The choreographer Michael Keegan-Dolan recently moved there, and its crags and vales and unspoilt coast have sucked him into an older, slower way of life that – paradoxically, because his work was and remains radical – has given him a shot in the arm.The opening minutes of his latest confection of dance-theatre and live music feel like a sequel to his last, a savage take on Swan Lake that explored the effect on Irish communities of corruption in the Catholic church. Read more ...
Jenny Gilbert
Ten years on from the death of its founder-choreographer, the Pina Bausch company finds itself at a crossroads, unwilling to limit itself to endless revivals of hits such as Café Muller or Rite of Spring, yet equally unwilling to relinquish the back catalogue altogether. Current artistic director Bettina Wagner-Bergelt tells theartsdesk why the time is right to bring back an early masterpiece, unperformed for 29 years. Highly experimental, violent and tender by turns, Bluebeard focusses on the hopeless lack of understanding between men and women.JENNY GILBERT Why Bluebeard, and why now? Read more ...
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.The lights went down and “Good morning, class”, we heard, as the regular daily routine at the barre began. There followed a seamless programme of vignettes and titbits, memories and displays of virtuosity, more Read more ...
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. Performers love it too, for the meaty roles it gives to its principals and the emotional swoop of their dances. You just have to make sure that you are absolutely right for the task, as the otherwise irreproachable Vadim Muntagirov found out at the eleventh hour, causing him to be replaced in the title role by Read more ...
Jenny Gilbert
Resolution! is an annual programme at The Place (home of London Contemporary Dance School), devoted to showcasing new choreographers. Over the past 30 years several have gone on to make it big, so there’s a reasonable chance that, somewhere among this year’s selection of 81 wannabes lurks a Wayne McGregor, a Hofesh Schechter or a Kate Prince waiting to be discovered.Each gets 20 minutes of a triple bill and quality isn’t guaranteed (the pieces having been selected on the basis of a written outline six months in advance) but this year’s opening night managed two out of three, with Lynn Dichon’ Read more ...
Jenny Gilbert
It’s unlikely that Lord Byron would recognise much about Le Corsaire. Beyond the characters’ names and the Ottoman location, there is little trace of the 1814 bestselling verse-novel on whose fame the ballet hitched a ride. Its plot is very silly indeed – a tale of abducted slave girls and piratical derring-do with added 19th-century ballet tropes of poisoned flowers and opium-induced dreams, not to mention a shipwreck in the final three minutes. It’s the kind of hokum it normally takes a big Russian company to bring off, but in this revival of Anna-Marie Holmes’s 2013 production English Read more ...
Jenny Gilbert
For dance lovers, it was a year of heavy hitters. There were visits from two of America’s biggest and best, both the Alvin Ailey company and San Francisco Ballet bringing generous programmes of new work. The mighty Bolshoi’s summer programme at Covent Garden brought us Spartacus, that Soviet-era mega-fest of militarism and machismo. More intimate but just as heavily hyped was the new Matthew Bourne, Romeo + Juliet, which toured the country before settling into the August holiday slot at Sadler’s Wells. There was Christopher Wheeldon’s vast new in-the-round Cinderella for English National Read more ...
Jenny Gilbert
Matthew Bourne’s tally of hits is such that many of his dance-drama interpretations of old ballets and films were labelled “classic” as soon as they appeared. Yet The Red Shoes, Bourne’s 2016 tribute to the 1948 film, is arguably the one that most rewards repeat viewings. Thickly layered with entertaining detail, you can see it again and again and still find new things to love.It’s also unique in adding more dance than the original contained. Michael Powell and Emeric Pressburger’s film follows the rise of a talented young British dancer, Vicky Page, as she joins a foreign ballet troupe ( Read more ...
Jenny Gilbert
A pas de deux is normally an opportunity for two dancers to express the pinnacle of their skill and the choreographer's art. In the case of McGregor + Mugler, the duet receiving its world premiere as part of a Russian-sponsored triple bill, it became an opportunity for a big-name designer to strut his stuff."My Little Pony From Outer Space" seemed to be the theme as Bolshoi prima ballerina Olga Smirnova and the Royal Ballet’s Edward Watson (main picture, and below) stepped out on the stage of the Coliseum virtually naked but for chrome helmets, chrome shin-guards and a membrane of glittery Read more ...