mon 28/07/2025

dance

'We are bowled over!' Thank you for your messages of love and support

Tom Birchenough

We are bowled over! 

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Giselle, National Ballet of Japan review - return of a classic, refreshed and impeccably danced

Helen Hawkins

A new Giselle? Not quite: the production that Japan’s national company has brought over for its first British visit isn’t a radical Akram Khan-style makeover. What it offers is a tasteful refreshing of a great classic, like meeting an old friend with a new haircut. 

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Quadrophenia, Sadler's Wells review - missed opportunity to give new stage life to a Who classic

Helen Hawkins

The red, white and blue bull’s-eye on the front curtain at Sadler’s Wells tells us we are in the familiar territory of Pete Townshend’s rock musical about teenage angst in 1960s Britain. What follows isn’t so easy to recognise.

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The Midnight Bell, Sadler's Wells review - a first reprise for one of Matthew Bourne's most compelling shows to date

Jenny Gilbert

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of lockdown, is far from being a high-octane people-pleaser. It won’t send its audience out teary-eyed and shaken as his Swan Lake did and continues to do.

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Ballet to Broadway: Wheeldon Works, Royal Ballet review - the impressive range and reach of Christopher Wheeldon's craft

Jenny Gilbert

Ballet is hardly a stranger to Broadway. Until the late 1950s every other musical had its fantasy ballet sequence – think Cyd Charisse in Singin’ in the Rain, or Laurey’s dream in Oklahoma!, whose first interpreter was its choreographer Agnes de Mille.

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The Forsythe Programme, English National Ballet review - brains, beauty and bravura

Jenny Gilbert

It’s hard to think of anyone even half as persistent as William Forsythe in changing the conversation around ballet. The American choreographer first came to notice with what became the defining dancework of the late 1980s.

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Sad Book, Hackney Empire review - What we feel, what we show, and the many ways we deal with sadness

Jenny Gilbert

Who goes to the theatre to feel sad? That is, knowing full well that they won’t be going home with a skip in their step. Many people, it would appear, given the success of a small touring dance show based on a book by the poet and broadcaster Michael Rosen.

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Balanchine: Three Signature Works, Royal Ballet review - exuberant, joyful, exhilarating

Helen Hawkins

Is the Royal Ballet a “Balanchine company”? The question was posed at a recent Insight evening to Patricia Neary, the tireless dancer who has helped keep the choreographer’s legacy intact since his death in 1983 and a living link with his teaching. Neary has been working with the RB as a coach, advisor and stager of Balanchine’s work for the past 57 years. “Oh yes!” was her emphatic answer.

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Romeo and Juliet, Royal Ballet review - Shakespeare without the words, with music to die for

Jenny Gilbert

1965 was a year of change in Britain. It saw the abolition of the death penalty and the arrival of the Race Relations Act. It was the year of the Mary Quant miniskirt and “Satisfaction” by The Rolling Stones. While cinema-goers queued around the block to see The Sound of Music (a critical flop), the Royal Opera House had another kind of hit on its hands.

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Help to give theartsdesk a future!

theartsdesk

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some hectic and intensive months when a disparate and eclectic team of arts and culture writers went ahead with an ambitious plan – to launch a dedicated internet site devoted to coverage of the UK arts scene.

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