Sadler's Wells
james.woodall
Let us conclude, after London’s season of World Cities - 10 dance shows - that Pina Bausch was not a choreographer. She began 50 years ago in Essen as a ballet dancer and like so many dancers in that field got bored with the rules. When she took over ballet in Wuppertal in 1973, she clearly had rule-breaking in mind but also had something inside her head very different from what one might identify as the geometry of dance.She is undoubtedly a stage poet, in my view more Surrealist than Expressionist - striving in a genuinely theatrical way to fulfil Marianne Moore’s advice that poets should Read more ...
Sarah Kent
The curtain rises onto a wall that totally blocks the view. A long silence... then, without warning, the wall collapses – to cheers of delight from the audience. For the rest of the evening, the dancers have to pick their way over rubble strewn across the middle ground that restricts free movement to strips of open space at the front and rear of the stage. It's a powerful metaphor for a society constrained by its past as well as its present; and Sicily is littered with the remains of civilisations that have disappeared leaving behind buildings stricken by earthquakes, swallowed by lava Read more ...
Ismene Brown
A new Sleeping Beauty from the iconoclastic dance showman Matthew Bourne headlines Sadler's Wells Theatre's new season. Climaxing a year of celebrating Bourne's engaging talent - his Play Without Words plays the Wells' summer, following a tour of early career highlights - this production offers a grown-up alternative to the record-breaking Christmas show The Snowman at the Peacock Theatre once again for the 15th year. San Francisco Ballet's visit in September with a generous season is another news-maker, and there's a return for Akram Khan's superb DESH, whose second run was postponed after Read more ...
Ismene Brown
Istanbul, even more than Rome, is the point in the world where tectonic plates of civilisations collide: Europe, Arabia and Asia, Muslim Istanbul and Christian Constantinople, fundamentalists and secularists, 21st-century women and 15th-century men. The smells of hookahs, roses and fish are part of the magic the city has from time immemorial radiated, beckoning traders and dealers, visitors and adventurers, to a place of shifting histories and irresistible mystery. All of which should make Nefés, Pina Bausch’s travelogue on Istanbul, one of the more substantial productions of her long series Read more ...
judith.flanders
It may be that designer Peter Pabst is the unsung hero of Tanztheater Wuppertal’s “World Cities” extravaganza. When the lights go down at Sadler’s Wells for Der Fensterputzer (The Window-washer), the stage is dominated by a vast mountain of glowing red flowers, over four metres high, nine metres across, looming out of a modernistic black-box stage. It is a moment of pure, surging drama.Hong Kong is the city Bausch is commemorating in this installation of her travelogue, her series of essays of places her company has been, cultures she has ingested. A smiling woman welcomes us – or perhaps a Read more ...
Sarah Kent
If you are tired of life, tired of London, or even tired of love, muster the remaining fibres of your frazzled being and do whatever it takes to get tickets for ...como el musguito en la piedra, ay si, si, si... or any of the other performances in the Pina Bausch "World Cities" retrospective on at Sadler’s Wells and the Barbican over the next four weeks.Inspired by the sights and sounds of Santiago de Chile, which commissioned it, and also surely by youth, ...como el musguito... is a bittersweet exploration of longing and desire, frustration and futility. It features the youngest dancers in Read more ...
Ismene Brown
It stymies any tourist to sum up for others what they saw abroad. Still more challenging, to create (or recreate) for theatre as a choreographer something more than superficial, more than clichéd about Italy, Japan, Los Angeles, Istanbul, these most clichéd of cultures. The opening of the monumental, enticing series of 10 of the late Pina Bausch’s “World Cities” season in London - a posthumous celebration of her talent - launched last night with the first of her views, Viktor, a production about Rome, postcards of Rome sent in Eighties Italy by a German choreographer.Choreographers’ output Read more ...
Ismene Brown
Matthew Bourne’s charm is a rare and cheering thing in the world of dance - a night out with three of his earliest works, Spitfire, Town & Country and The Infernal Galop, is akin to sitting down to watch Father Ted or Dad’s Army. It’s clever, often witty, always gay, and kind.It’s only because I feel the richer pathos and ambiguity that Bourne later went on to tap in Swan Lake and Play Without Words, that I find the substantial evening a bit too much dessert by the time we reach The Infernal Galop. Still, this programme is just the ticket for a delicious little theatre on its touring Read more ...
Ismene Brown
The past is a hard card to play for a contemporary dance company, even harder than for a ballet company. A work that’s proved over time, whose quality emerges and re-emerges with revisiting, casts an imposing shadow over new works created in the ethos and fashions of the contemporary. Rambert’s director for the past decade, Mark Baldwin, has always turned with love to past works, and he must know that it’s Siobhan Davies’s 1995 The Art of Touch on this 10th anniversary programme that is by far its star, and shows just what richly refined and responsive individuals he now numbers in his elite Read more ...
Ismene Brown
A new publicly funded UK web channel for performing arts opens tomorrow morning, preparing for a major launch this weekend streaming top international streetdancers to the web audience and publishing John Peel's notes on his record collection. The channel, called The Space, is funded by the Arts Council England in partnership with the BBC, and will run for six months over and through the Olympics period as an on-demand channel to put performance out via smartphones, tablets and computers.Described as an experimental digital arts channel and "communal playground", The Space clearly hopes to Read more ...
Ismene Brown
Tennessee Williams’s A Streetcar Named Desire carries with it an enormous loading from its past, the associations with those iconic performers on stage and screen Marlon Brando and Vivien Leigh not the least of them. For a narrative dance, that hothouse close-up combat between the hapless Blanche Dubois and Stanley Kowalski, her sister’s boorish husband, needed a fresh revising and some bravely independent performing. Much kudos to Scottish Ballet for creating and pulling off a genuinely involving new dance-drama which looks as stylish as it feels emotionally substantiated.Director Nancy Read more ...
Ismene Brown
William Forsythe's position as the most articulate, fascinating, provocative ballet choreographer of the past 25 years is demonstrated by the Royal Ballet of Flanders' brief visit to Sadler's Wells for three nights with his epic, maddening, engrossing creation, Artifact. The cutting edge of theatre and ballet at its premiere in 1984, it is a four-act ballet, no less, that pays homage to the early court spectacles out of which ballet was born, and the superb physical elegance into which classical ballet then evolved.I append below Forsythe's own explanation to me of what it's about, but in Read more ...