wed 21/08/2019

Dance

Matthew Bourne's Romeo and Juliet, Sadler's Wells review - heart-stopping drama

Your first thought on hearing there's a new Matthew Bourne Romeo and Juliet might well be 'doesn't it exist already?' So obvious does this marriage of high drama, lush iconic score, and Britain's premier dance maker seem that you might well be...

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The Bright Stream, Bolshoi Ballet review - a gem of a comedy

Why is Alexei Ratmansky one of the greatest living choreographers of classical ballet? Well partly because, as last night's performance of The Bright Stream by the Bolshoi at the Royal Opera House proved, he can do comedy. To adapt the famous...

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Spartacus, Bolshoi Ballet, Royal Opera House review - no other company could pull this off

The Bolshoi juggernaut has rolled into town and will be dominating the thoughts of ballet fans in and around the capital for the next three weeks. And what could be more dominating - or more quintessentially Bolshoi - than Yuri Grigorovitch's 1968...

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Jean-Paul Gaultier’s Fashion Freak Show, Southbank Centre review - c’est chic

What does one wear to watch a Fashion Freak Show, FFS? On the eve of London’s hottest day probably ever, the fashion faithful still turned out in sequins, PVC jackets, knee-high lace-up boots, turbans, wigs and floral headpieces, a skin-tight...

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Ballet Flamenco Sara Baras, Sadler's Wells review - storming opening to flamenco festival

Crowned queen of the percussive heel and the trouser suit, Sara Baras has the audience on its feet long before the final number of her show Sombras (Shadows). The Spanish superstar is a familiar presence at Sadler’s Wells, having fronted its annual...

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Mari review - bittersweet drama with flair

Mari is one part kitchen sink drama, one part dance performance, bringing a refreshing take on bereavement and family. Dancer Charlotte joins her mother and sister at her dying grandmother’s bedside, and tensions rise as cabin fever sets in.Director...

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The Mother, QEH review - Natalia goes psycho

The publicity said it would be dark. But who would have guessed The Mother would be this dark? With its tally of dead and dying babies, gouged eye sockets and flayed skin, Arthur Pita’s latest dance-drama vehicle for the phenomenal Natalia Osipova,...

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Cinderella, English National Ballet, Royal Albert Hall review - big, bright and bankable

It might seem odd to laud the entrances and exits of a ballet, but when it comes to stagecraft Christopher Wheeldon is second to none. You lose count of the ingenious ways he finds to shift up to 130 dancers in and out of view at the Albert Hall....

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The Firebird triple bill, Royal Ballet review - generous programme with Russian flavour

You can’t accuse the Royal Ballet of lightweight programming: the three juicy pieces in the triple bill that opened at the Royal Opera House on Tuesday add up to a three-hour running time. That’s a lot of ballet for your buck. Whether they actually...

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San Francisco Ballet, Liang/Marston/Pita, Sadler's Wells - elemental, ethereal and kitschy, too

Sun, snow, and some unadorned silliness danced to the music of Björk: no one can accuse San Francisco of casting an insufficiently wide tonal (or climatic) net in this second of four programmes on view from San Francisco Ballet as part of their...

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Shostakovich Trilogy, San Francisco Ballet, Sadler's Wells review - less than the sum of its parts

Alexei Ratmansky stands out among contemporary choreographers for two reasons: he still creates genuinely classical dance, and he's more conscious than most that art is dependant on the society it's created in. His Shostakovich Trilogy, which...

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'I wrote a letter to Björk in Icelandic and it did the trick': Helgi Tomasson on an intervention that saved a ballet

Visits from major foreign ballet companies are always news, but a two-week London season by one of America’s “big three” is something to get excited about. San Francisco Ballet doesn’t rest on its laurels. Eight of the 12 pieces offered in the...

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