Sadler's Wells
Hanna Weibye
Another week, another war commemorative; it’s the story of all the arts in 2014. But – because you can always rely on David Bintley and Birmingham Royal Ballet to be different – last night’s programme at Sadler’s was overshadowed by the Second World War, not the First. Nor were there any soldiers or war widows to be seen: instead this remarkable mixed programme danced from the doomed brightness of the inter-war generation, to religious experience in war-torn Clydeside, to a kilt-girt, abstract, bittersweet lament.Kenneth MacMillan’s 1979 La Fin du Jour is an odd bird. Deliberately evoking the Read more ...
Hanna Weibye
New Adventures, the name of Matthew Bourne's company, has a ruddy-cheeked, Boys’ Own ring to it that has – until now – been rather belied by his oeuvre, which includes a dance version of Edward Scissorhands, as well as dark retellings of all the traditional story ballets. But the New Adventure which rolled into Sadler’s Wells last night really is an adventure – an adaptation of William Golding’s Lord of the Flies, the desert island schoolboy story heavy with allegory about the propensity of human beings to descend into barbarism.Civilization and barbarism are complex terms, and political Read more ...
Hanna Weibye
Grupo Corpo means Body Group, and if that sounds like the name of a global exercise consortium, it’s because it should be. If I were an entrepreneur media mogul type, I would have shot out of my seat at Sadler’s Wells last night and straight round to the stage door to persuade the Pederneiras siblings who run the company - it's emphatically a family business - that they need to do a fitness video or five, and syndicate an accompanying wordwide branded exercise class guaranteed to have the likes of Zumba and Les Mills, the BodyPump people, quaking in their last year’s Nike Airs.Grupo Read more ...
Hanna Weibye
Who qualifies as an older dancer? Given that a professional dance career usually runs from about 17 to 35, anyone continuing to dance past 40 can expect comments on their age and speculation about when they'll stop – see Sylvie Guillem, Wendy Whelan, Leanne Benjamin, Carlos Acosta. People who are physically extraordinary and have interesting minds are worth watching at any age, but public performances by dancers over 50 are still very rare indeed. So hurrah for the Elixir Festival at Sadler’s Wells this weekend, which is all about older dancers, and put its money where Read more ...
Katie Colombus
No one could accuse Nederlands Danse Theater choreographers Sol Leon and Paul Lightfoot for thinking inside of the box. And yet that's exactly where they've placed their dancers in the opening piece, Sehnsucht, of this impressive Sadler's Wells program.A couple - Medhi Walerski and Parvaneh Sharafali - dance together, by turns tender and embracing or pained and wistful. As their relationship plays out, so the world spins madly on, which sees the rooms tilting and slowly rotating so that up becomes down. The dancers slide gracefully around the walls, hang off window ledges, sit on chairs Read more ...
Hanna Weibye
There are all sorts of companies and shows out there that claim to “rock” the ballet, or otherwise shake up, take down or reinvent an art form that, they imply, is (breathe it softly, the dirty word) elitist, or at least irrelevant. Few, I’d imagine, perform this operation with anything like the skill and intelligence of Dada Masilo, whose 2010 version of Swan Lake opened the lively short smorgasbord season that Sadler’s Wells are calling their Sampled festival. Masilo’s reinvention works because she understands ballet, and not just its conventions – though she skewers those with Read more ...
Hanna Weibye
Sure as carbon dioxide and the greenhouse effect, the 2010s are following a standard 20-year nostalgia cycle by embracing the 1990s as their "retro twin" decade. The quiet rumblings of the last few years – student Nineties parties and the reappearance of the crop top – have this year flowered into a full-on revival that has hairdressers fingering their razors (remember the Rachel cut?), thirty-somethings wearing double denim again, and Rambert coming to Sadler’s Wells with revivals from 1990-1 alongside a Merce Cunningham classic from the Nineties’ own retro twin decade, the 1970s.Four Read more ...
Sarah Wilkinson
Watching The Royal Ballet’s The Winter’s Tale a few weeks ago, I was struck by the quasi-absurdity of adapting the Bard for dance - a thought numerous choreographers must have encountered while toying with the idea. The complexity of Shakespeare’s plots and characters, and the importance of his linguistic intricacy has meant that relatively few have dared to take on the task and even fewer have succeeded in creating lasting adaptations. Winter’s Tale premiered to predominantly glowing reviews and Ashton’s one-act The Dream will be revisited at the end of the month with The Royal Ballet, but Read more ...
Ismene Brown
Last night the Olivier Awards handed their top honour for dance not to a dancer but to the man who shines the lights on the dancers. Michael Hulls, winner of the Outstanding Achievement in Dance award, paints the dancing of Sylvie Guillem, Akram Khan, Russell Maliphant and the Ballet Boyz with atmospheres and illuminations that seem to reach beyond the visual and into some paranormal place.Lighting designers are either wizards or useful pedants. They scrupulously light the action or they make light speak its own language, activating space, time, illusion, imagination - inventing effects that Read more ...
Hanna Weibye
Stravinsky’s Rite of Spring captures the pulsing terror of seasonal change, the relentless onward drive of nature that brings death closer even as life burns at its most ferocious. The 1913 première of the ballet created by Vaslav Nijinsky infamously caused a riot in its Parisian audience. Michael Keegan-Dolan’s version for his company Fabulous Beast has terrifying dog heads and men furiously humping the ground. So if you were tripping merrily through London on a mild evening, heart lifted by the April light and the work-week’s end, you might well think that your mood would be better matched Read more ...
Hanna Weibye
Belgian Alain Platel makes the kind of dance theatre (like Pina Bausch, to whom he has an oft-remarked debt) for which both “dance” and “theatre” are very loose and inadequate umbrella terms. “Sets” are often jaw-dropping colonisations of stage space; there are no flats or drops painted to resemble other things, but huge quantities of actual stuff with which the dancers interact. These “dancers” are actors too, but their “dialogue” is not continuous speech but snatches and fragments, absurd and incongruous phrases which sit in the air like the absurd and incongruous objects on the stage. And Read more ...
Hanna Weibye
Israeli-born choreographer Hofesh Shechter has had a meteoric rise. Ten years ago, he was a dancer in somebody else’s company who had just taken a couple of steps into choreography. Now he has his own full-time company, can pack out Sadler’s Wells twice a year, and gets invited to stage his creations for top international companies like Nederlands Dans Theater.His success is all the more remarkable for having been achieved outside the traditional channels. Although he is a graduate of Batsheva, Israel’s international-standard contemporary dance company, Shechter left it to study as a Read more ...