dance
Ceremony of Innocence/The Age of Anxiety/Aeternum, Royal BalletSaturday, 08 November 2014
English National Ballet and Birmingham Royal Ballet have staged programmes of war pieces already this year; now here's the Royal Ballet bringing up the rear in its own inimitable (and rather oblique) fashion with a triple bill that picks up on and subtly plays with the anxiety felt by those great British artists, Benjamin Britten and W.H. Auden, in the 1930s and 1940s. Read more... |
JOHN, National TheatreWednesday, 05 November 2014
It is no exaggeration to say that Lloyd Newson has created a new theatrical language. Verbatim drama and intricate choreography would seem, on paper, to be fatally competing elements, yet Newson’s hypnotic fusion charges both word and movement with fresh meaning. Read more... |
TOROBAKA, Israel Galván & Akram Khan, Sadler's WellsTuesday, 04 November 2014
When you're talking about dancers, the old adage about genius being 99% perspiration has a point. You have to work damned hard just to be average in professional dance; to be good, like Akram Khan and Israel Galván are good, takes sweat (and tears and blood, like as not). Read more... |
Thomas Adès, See the Music, Hear the Dance, Sadler's WellsSaturday, 01 November 2014
The challenge was already in the title for me: as both a dance critic and a strongly visual person, in the normal order of things I see the dance first and hear the music second. Read more... |
Cassandra, Ludovic Ondiviela, Royal Ballet, Linbury StudioFriday, 31 October 2014
Madness is a favourite trope of opera, less so of ballet. There’s Giselle, but her insanity lasts only a few minutes. There’s Kenneth MacMillan’s delusional Anastasia, who believes she's the daughter of the last Tsar of Russia, but the advent of DNA testing destroyed the story’s credibility. Read more... |
Ashton Mixed Bill, Royal BalletSunday, 19 October 2014
This morning, those who follow ballet on both sides of the Atlantic might be feeling a bit like the male soloists at the beginning of Ashton’s Scènes de Ballet: turning their heads sharply, almost pantomimically, from side to side. Over there, in New York, Wendy Whelan, the prima ballerina retiring after a 30-year career with City Ballet, made her farewell in a programme heavy on modern masters Wheeldon and Ratmansky, including a world première. Read more... |
Shadows of War, Birmingham Royal Ballet, Sadler's WellsSaturday, 18 October 2014
Another week, another war commemorative; it’s the story of all the arts in 2014. But – because you can always rely on David Bintley and Birmingham Royal Ballet to be different – last night’s programme at Sadler’s was overshadowed by the Second World War, not the First. |
Bosque Ardora, Rocío Molina, BarbicanFriday, 17 October 2014
Thirty-year-old Rocío Molina has been rattling cages in the hide-bound world of flamenco. Back home in Spain, gloom-mongers are predicting she’ll bring down the art form with her brazen, off-the-leash excursions from its honoured tropes. Her shows are popular. Read more... |
Lord of the Flies, Matthew Bourne's New Adventures, Sadler's WellsFriday, 10 October 2014
New Adventures, the name of Matthew Bourne's company, has a ruddy-cheeked, Boys’ Own ring to it that has – until now – been rather belied by his oeuvre, which includes a dance version of Edward Scissorhands, as well as dark retellings of all the traditional story ballets. Read more... |
Grupo Corpo, Sadler's WellsThursday, 02 October 2014
Grupo Corpo means Body Group, and if that sounds like the name of a global exercise consortium, it’s because it should be. Read more... |
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