Sadler's Wells
Jenny Gilbert
It takes a lot to make an audience not want to head to the bar at the interval. But the preparation of the stage floor for The Rite of Spring in the version by Pina Bausch is a piece of theatre in itself, and many at Sadler’s Wells couldn’t tear themselves away. This is the second time that Sadler’s has hosted this special production of Bausch’s extraordinary response to Stravinsky’s score. The choreography dates back to 1975, and for years was exclusively danced by Bausch’s home company. The idea of assembling and training a pan-African troupe to present it came much later, in a bid to Read more ...
Jenny Gilbert
What to expect of the National Ballet of Canada since its last London visit 11 years ago? Dance with an eco-message, a world-peace message, or more visible diversity on stage?It's all there in the homegrown triple bill the company has brought to Sadler’s Wells. But the primary message seems to be that The Great White North has undergone a choreographic renaissance over the past decade, becoming a purveyor of hot-ticket choreographers to the wider world. This programme spans three generations of creators, each of whom challenges ballet tradition in their own way.In the case of James Read more ...
Jenny Gilbert
You need to be fairly long in the tooth to feel nostalgia for the heyday of London City Ballet. The group was set up in 1978 by the late Harold King to tour a large and varied classical repertoire at home and abroad. Princess Diana, its patron, befriended the company, supporting its work both publicly and privately. But in 1996 it ran out of road, and despite a valiant attempt to revive it as the lightly tweaked City Ballet of London, it has remained, until now, a piece of British dance history.A newly reformed London City Ballet of 14 dancers has just completed a UK tour, ending with a Read more ...
Helen Hawkins
A Chorus Line reigned supreme on Broadway from 1975 to 1990, a bold, bare-bones piece that for once put musical theatre’s hoofers in the spotlight. “As welcome as a rainbow after a thunderstorm” was Clive Barnes’s summation in the New York Times.It was there when Aids began to decimate theatre-land, taking its creator, Michael Bennett, in 1987 too. It was a show that acknowledged the flesh and blood performers who went on making the magic happen and lent them added poignancy. And it presumably did so again in 2021, when the Curve Leicester created this production as a one-finger salute to Read more ...
Kris Nelson
LIFT 2024 is nearly here. It’s a festival that will take you on deep and personal journeys. We’ve got shows that will catch your breath, spark your mind and rev up your imagination. There’s adrenaline too. It’s international theatre for your gut. With three world premieres and a host of London debuts, this year’s LIFT takes on two themes. The Personal is Epic explores deeply personal stories of justice, migration, and protest, amplifying them to mythic proportions. Meanwhile Play the Future, Play the Past is a strand of shows that reframe history and imagine the future. We start the Read more ...
Jenny Gilbert
The story of Carmen is catnip to choreographers. No matter how many times this 180-year-old narrative has been tweaked and reframed in art, theatre, opera, dance and film, they keep coming back for more – which is curious when you consider that Carmen began life in a saucy French novella read in smoking rooms and gentlemen’s clubs.If it was fear of low-life women and racial contamination that made her provocative in the late 19th century, that hardly explains the persistence of Carmen into the 21st, nor the fact that two different full-evening dance versions are being presented at Sadler’s Read more ...
Paco Peña
There are moments that forever remain imprinted in our consciousness, engraved on the general map of our lives. I cannot forget the excitement of seeing snow for the first time in Córdoba, aged three or four, rushing to walk on it only to slip straight away and fall on my behind! Or when I discovered the sea, in Cádiz.Nor do I forget the tense moments, such as when my mother left the house every day before dawn to go to the wholesale market with empty pockets, to start the daily adventure of acquiring vegetables, on credit, which she would then sell on her stall in order to settle with the Read more ...
Helen Hawkins
Perhaps the most memorable of the stage designs Peter Pabst created for Pina Bausch is back in London after nearly 20 years: a sea of erect pink silk carnations, the Nelken of the title. It’s canonical that there are 8,000 of them, but only the backstage team know the truth of that. As the piece opens, dancers start to appear in formal attire, carrying chairs, picking their way through the flowers and sitting down in silence, expectantly. Then Richard Tauber sings Franz Léhar’s “Schön ist die Welt” (The world is beautiful). Over the next two hours the piece will turn that idea into a Read more ...
Jenny Gilbert
Federico Fellini’s 1954 classic La Strada ought to be a gift to a choreographer. The film has pathos, good and evil, a bewitchingly gamine heroine, and incidental music by the great Nino Rota, a composer who can find melancholy in the music of carnival and joy in a tragic trumpet solo – a composer who makes you think “Italy” in every phrase. Yet, in the dance adaptation that has just premiered at Sadler’s Wells, that strangest of road movies seems increasingly untranslatable.Not that the show doesn’t contain many pleasingly fluid sequences of dance, which sometimes soar. Choreographer Natalia Read more ...
Sean Gandini
I am a juggler. My wife Kati Ylä-Hokkala is also a juggler. Our life for the last three decades has been juggling. We have been fortunate to be practising this art form at a time when mathematical and creative developments meant that our vocabulary went from about 30 patterns to thousands. The Golden Age of juggling.In 2010 our lovely patron Angus MacKechnie asked us to put together a new piece for the outdoor space outside London's National Theatre. The late great Pina Bausch had just died and we decided to make a one-off tribute to her. We made a piece called Smashed. I had been intrigued Read more ...
Helen Hawkins
The story of Edward Scissorhands may not seem an obvious Christmas subject, but it couldn’t be a more overt call for goodwill to all men. And there’s a hint of The Nutcracker about Matthew Bourne’s dance version, too.Created in 2005 and last seen in 2014, the piece is his Sadler’s Wells seasonal treat this year, and it’s more witty and beguiling than ever before, fine-tuned for today’s world, despite its age. The staple ingredients of the piece, adapted for New Adventures by Caroline Thompson from her screenplay for Tim Burton’s 1990 film, are the familiar ones: a sunny 1950s suburban Read more ...
Bernard Hughes
What a difference a few years make. In 2019 I reviewed composer Dani Howard’s first opera, Robin Hood, also produced by The Opera Story, and commented on the fundraising success that enabled a cast of six and an ensemble of 10.Fast forward through five years of drought for the arts in Britain and her second stage work is scored for a single voice (plus a dancer) accompanied by just two instruments, cello and piano. Howard’s subject matter, the 1892 short story The Yellow Wallpaper, suits this more intimate approach, but I definitely missed the enterprising scoring of the earlier work. Read more ...