wed 26/01/2022

contemporary dance

Matthew Bourne's Nutcracker!, Sadler's Wells Theatre review - new candy, but the nuts are off

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.Matthew Bourne’s dance panto Nutcracker...

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Past Present, Linbury Theatre review - historic, but very much alive

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...

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Hofesh Shechter Company, Double Murder, Sadler's Wells review - a well-intentioned but misjudged double bill

If I had to sum up in a single impression the work I’ve seen of Brighton-based, Israeli-born choreographer Hofesh Shechter (now OBE), it would be that of a rock gig. His shows are noisy, populous affairs, and he writes his own drumbeat-driven music...

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theartsdesk in Hamburg: Ghost Light - a ballet in the time of corona

So the Royal Ballet is to make a live comeback, for one night only, on 9 October. Fielding the entire company of 100 dancers, suitably distanced, the enterprise is being hailed as a triumph of logistics. And so it is. But the fact remains that the...

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Dancing at Dusk: A Moment with Pina Bausch’s 'The Rite of Spring' review - an explosive African rite

There’s sun and sand, and both are golden – but this is no holiday beach. Distantly, out of focus, you can make out a man with a donkey and cart. Off-camera, some locals kick a ball. A square of sand about the size of a tennis court has been...

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The Thread, Sadler's Wells Digital Stage review - Greek folk and contemporary unite

The latest Sadler’s Wells digital offering is 2019’s The Thread, a luminous collaboration between choreographer Russell Maliphant and Oscar-winning composer Vangelis (Chariots of Fire, Blade Runner) for the Athens-based production company Lavris. It...

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Rumpelstiltskin, Sadler's Wells Digital Stage review - spins an engaging yarn for young audiences

The latest in Sadler’s Wells’ Digital Stage programme – an impressively assembled online offering to keep audiences entertained during the shutdown – is balletLORENT’s family-friendly dance-theatre production Rumpelstiltskin. It was...

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And Then We Danced review - glorious Georgian gay coming-of-age tale

The final sequence of Levan Akin’s coming-of-age drama And Then We Danced is as gloriously defiant a piece of dance action as anything you’ll remember falling for in Billy Elliot. Merab, the film’s youthful dancer protagonist (played by Levan...

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Isadora Now, Barbican Theatre review - a little piece of history

Mention Isadora Duncan and the best response you’re likely to get is “Wasn’t she that dancer who died when her scarf got caught in the wheels of a Bugatti?” The closing scene of the 1968 biopic starring Vanessa Redgrave seems to have blotted out...

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Resolution 2020, The Place review - new dance for a new decade

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...

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Acosta Danza, Sadler's Wells review - a dose of Cuban sun

Second album, second novel, second tour programme – the follow-up is always tricky. But the timing couldn’t be better for Acosta Danza, the Havana-based dance company which made its UK debut in 2017. These 20 young Cubans, handpicked by Carlos...

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Cross Currents/Monotones II/Everyone Keeps Me, Linbury Theatre review - the Royal Ballet finds the missing link

This programme of three short works is all about influence, specifically the supposed cross currents between ballet and contemporary dance in the latter half of the 20th century. The irony is that this is the first time that the Royal Ballet has...

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