dance
Curated by Carlos, Birmingham Royal Ballet, Sadler's Wells review - a star turnSaturday, 06 November 2021
When a great performer takes on the running of a ballet company, the effect on its dancers can be transformative. It happened when Mikhail Baryshnikov took on American Ballet Theatre in the 1980s. It’s been happening at English National Ballet since 2012 under Tamara Rojo. Read more... |
L'Heure Exquise, Linbury Theatre review - an exquisite tragedy in miniatureWednesday, 20 October 2021
Ballet dancers, even the greatest, don’t expect longevity. There are no Maggie Smiths or Helen Mirrens in the ballet world – there just aren’t the roles. So the news that Alessandra Ferri was to mark the 40th anniversary of her association with the Royal Ballet (she joined aged 17) with a run of performances of a one-woman show was of more than passing interest. Read more... |
Bernstein Double Bill, Opera North review - fractured relationships in song and danceMonday, 18 October 2021
Leonard Bernstein’s one-act opera Trouble in Tahiti enjoyed a relatively trouble-free gestation, at least compared to his other stage works. Its seven short scenes last around 50 minutes, Bernstein providing his own libretto and completing much of this acerbic, occasionally bitter study of a marriage in crisis whilst on his own honeymoon in 1951. Read more... |
The Dante Project, Royal Ballet review - a towering achievementSaturday, 16 October 2021
Unless you happen to be a student of Italian language or culture, the significance of the 14th-century poet Dante Alighieri’s insights into the human condition may have passed you by, albeit that this year marks 700 years since his death. Where every educated Italian knows the stories and characters within La divina commedia like the back of their hand, we British generally draw a blank. Read more... |
Romeo and Juliet, Birmingham Royal Ballet & Royal Ballet review - a storming start to the seasonWednesday, 13 October 2021
Two households, both alike in dignity … and both launching their respective seasons with a production of Kenneth MacMillan’s Romeo and Juliet. Read more... |
The Midnight Bell, New Adventures, Sadler's Wells review - dance theatre at its most compellingFriday, 08 October 2021
The British author Patrick Hamilton is best known for two highly successful plays, Rope (1929) and Gaslight (1939), which in turn became highly successful films. But it’s Hamilton’s novels, set among the fog-bound pubs and clubs of 1930s Soho, that have inspired Matthew Bourne’s latest enterprise, The Midnight Bell. Read more... |
Creature, English National Ballet, Sadler's Wells review - bombastic and unreadableFriday, 24 September 2021
If a new ballet can be doomed by the weight of expectation, then Creature didn’t stand a chance. First scheduled to appear in the spring of 2020, then again last autumn, the publicity drive over the past weeks has had the air of marketing a used car that is taking up space in the showroom. Read more... |
Hofesh Shechter Company, Double Murder, Sadler's Wells review - a well-intentioned but misjudged double billFriday, 17 September 2021
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. Read more... |
Beauty Mixed Programme, Royal Ballet review - no dancers? No problemMonday, 05 July 2021
Crisis-management has always been part of a choreographer’s skillset, but staging a new ballet with two large alternating casts has rarely been fraught with so much risk. It was one hell of a week for Valentino Zucchetti, first soloist at the Royal Ballet and creator of Anemoi, the 20-minute work that opens the final programme in the company’s 90th birthday season. Read more... |
Solstice, English National Ballet, RFH review - a midsummer treatSaturday, 19 June 2021
“A tonic to the nation”. That was the hoped-for effect of the Festival of Britain in 1951, and its concrete legacy was the Royal Festival Hall. Read more... |
Pages
latest in today
Prom 27, Dinnerstein, National Youth Orchestra, Gourlay revi...
Danny Elfman – the punk rocker-turned-film composer behind Batman, Spider-Man, Edward Scissorhands and The Simpsons...
Burn, Edinburgh International Festival 2022 review - bold, r...
In retrospect, all the clues were there. A star actor embarking on a new performance genre; a fresh reappraisal of one of...
Utopia, Limited, National Gilbert & Sullivan Opera Compa...
Joseph Heller grew tired of being told that he’d never written anything as good as Catch 22. ‘Who has?’, he'd retort. In the same...
Album: Boris - Heavy Rocks
Boris are an eclectic Japanese band, with over 20 albums to their name. Following their creative instincts and often recording live with no...
Edinburgh Fringe 2022 reviews: Les Dawson: Flying High / Bor...
Les Dawson: Flying High, Assembly George Square ★★★
Any...
Music Reissues Weekly: The Movers - Vol. 1 1970-1976
After a burst of gun-shot drumming, “Hot Coffee” instantly hits its groove. Simple but insistent guitar, a rubbery bass line and electric organ...
Nightclubbing: The Birth of Punk Rock in NYC review - cheap...
Bankruptcy, rubble, rape and murder: Manhattan in the Seventies could be grim, as multiple New York punk memoirs make clear. The trade-off was the...
South Pacific, Sadler's Wells review - strong singing i...
How old is Emile de Becque? Perhaps because my first Emile was the 1958 film version’s Rossano Brazzi, my vision of the lonely French...
Edinburgh Fringe 2022 reviews: Tiff Stevenson / Seann Walsh...
Tiff Stevenson, Pleasance Courtyard ★★★★
...
...