mon 08/08/2022

dance

Alina, Sadler's Wells review - I think therefore I dance

Jenny Gilbert

It’s common to see the term “vanity project” applied to self-produced shows by ballet stars, but Alina – the first such London venture by Alina Cojocaru – was quite the opposite of vain.

Read more...

Message in a Bottle, Peacock Theatre review - a hiphop singalong

Jenny Gilbert

It’s hard enough to imagine hip hop set to the songs of Sting, but a hip hop show in which 27 songs by Sting laid end to end are made to tell a story about refugees? That’s the unlikely latest offering from the choreographer Kate Prince.

Read more...

The Cellist/Dances at a Gathering, Royal Ballet review - A grand love affair with a cello

Jenny Gilbert

The cello is the stringed instrument most closely aligned to the human voice. It has a human shape, too, so in theory it was a short step for choreographer Cathy Marston to give it a living, breathing presence in her ballet about the legendary cellist Jacqueline du Pré. But what a giant leap of imagination that turned out to be.

Read more...

Bluebeard, Tanztheater Wuppertal Pina Bausch, Sadler's Wells review - bleak but ground-breaking

Jenny Gilbert

When Pina Bausch died at the height of her creative powers in 2009, no one knew if her work or her company would survive. A decade later, to judge by the scramble for tickets for this early, highly experimental piece, both seem to be doing just fine.

Read more...

Michael Keegan-Dolan, MÁM, Sadler's Wells review - folk goes radical

Jenny Gilbert

The Dingle Peninsula is a thumb of land that protrudes into the Atlantic as if trying to hitch a ride from Ireland to America.

Read more...

English National Ballet 70th Anniversary Gala, Coliseum review - a fine celebration

Sue Gaisford

Just when you thought Christmas was well and truly over, along comes another box of delights. And there isn’t a disappointment in it. If it were nuts, there’d be nothing but cashews; if chocolates, there wouldn’t be a single disgusting lime-cream. It would be all Ferrero Rochers, gift-wrapped. English National Ballet’s 70th birthday party opened and closed with class, in every sense.

Read more...

Onegin, Royal Ballet review - vivid and intelligent dance drama

Nadine Meisner

It’s no surprise that audiences love John Cranko’s Onegin, with its vividly economical narrative (close to Tchaikovsky’s opera), attractive decors by Jürgen Rose, and intelligent drama. True, it feels a tad old-fashioned – although that, as my neighbour observed, is part of the charm.

Read more...

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

Jenny Gilbert

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 this year’s selection of 81 wannabes lurks a Wayne McGregor, a Hofesh Schechter or a Kate Prince waiting to be discovered.

Read more...

Le Corsaire, London Coliseum review - hugely entertaining

Jenny Gilbert

It’s unlikely that Lord Byron would recognise much about Le Corsaire. Beyond the characters’ names and the Ottoman location, there is little trace of the 1814 bestselling verse-novel on whose fame the ballet hitched a ride.

Read more...

Best of 2019: Dance

Jenny Gilbert

For dance lovers, it was a year of heavy hitters. There were visits from two of America’s biggest and best, both the Alvin Ailey company and San Francisco Ballet bringing generous programmes of new work. The mighty Bolshoi’s summer programme at Covent Garden brought us Spartacus, that Soviet-era mega-fest of militarism and machismo.

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...

Edinburgh Fringe 2022 reviews: Boy / Intruder|Intruz

Boy, Summerhall

Nature or nurture? It...

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 ★★★...
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 ★★★★
...