dance

Michael Clark Company, th, Tate Modern

Ismene Brown Wednesday, 08 June 2011

Michael Clark brings dancers into Tate Modern in a long shadow cast by some memorable events from choreographers Merce Cunningham and Trisha Brown. Now the ground on which Ai Weiwei’s poignant porcelain seeds were piled is swept clean and laid with a striking white-and-black dance floor, with audience seats arrayed on three sides and the massive height of the Turbine Hall politely decked with spotlights.

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Dave St-Pierre Company, Un Peu de Tendresse, Sadler's Wells

Judith Flanders Friday, 03 June 2011

When asked if I wanted to go and see two dozen naked Canadians doing audience participation, the answer was, self-evidently, nonononononononono. And then, for good measure, NO. Well, I’m here to tell you, I was wrong. Wrong, wrong, wrong. And I apologise to Dave St-Pierre and Company for my foolish prejudices. Un Peu de Tendresse Bordel de Merde ("A little tenderness, for Pete's sake") is an amazing evening of theatre.

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Manon, Royal Ballet

Judith Flanders Thursday, 02 June 2011

If an excess of enthusiasm troubles you, look away now. Because this is less a review, more a love letter. Alina Cojocaru has been astonishing audiences for more than a dozen years. Regular ballet-goers attend her performances expecting to be thrilled. I went expecting to be thrilled. What I didn’t expect was to have a ballet I have been watching for 30-odd years suddenly seem new.

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Scènes de Ballet/ Voluntaries/ The Rite of Spring, Royal Ballet

Judith Flanders Saturday, 28 May 2011

Programming a mixed bill is a very delicate art, and what seems like an interesting mix to one person might appear to be an entirely random series of choices to another. The Royal’s new triple is the perfect example.

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Bern:Ballett, Linbury Studio, Royal Opera House

Judith Flanders Thursday, 26 May 2011

Being a choreographer is harder than it looks. Steps, movement, are just the beginning. On top of that you need to have a sense of theatricality, and then, even more, you need to be able to convey your ideas, through movement alone, to the audience. On these counts, Bern:Ballett’s visit to the Linbury fails to make the grade.

Rambert, Cardoon Club/ Roses/ Monolith, Sadler’s Wells

Judith Flanders Tuesday, 24 May 2011

Another of Paul Taylor's masterpieces: 'Roses', in rehearsal

Paul Taylor's Roses is called Roses because, well, because it is. There are no roses here, no flowery sentiment, no overwrought angst and emotion. This, one of Taylor’s most beautifully serene works, is the smell of roses on a still May evening: fleeting, evanescent and heart-breakingly beautiful. It is also some of the most magisterial - and startlingly original - choreography, even a quarter of a century after it was first made.

Sidi Larbi Cherkaoui's Apocrifu/ Gardenia, Brighton Festival

Ismene Brown Friday, 20 May 2011

Apocrypha is a word that has acquired a dubious meaning, for books of questioned value and authenticity, texts in various religions that may not necessarily be held divine. The Belgian-Moroccan dancemaker Sidi Larbi Cherkaoui's dance work Apocrifu applies the word and its queries to the holiest of texts themselves, the Koran, Bible, Kojiki, in a secular era where religion is more about politics than faith.

Cleopatra, Northern Ballet, Sadler's Wells

Judith Flanders Tuesday, 17 May 2011

David Nixon has been artistic director of Northern Ballet for a decade, and it’s probably safe to say he is the king of the story ballet: Wuthering Heights, Les Liaisons Dangereuses, Madame Butterfly, Dracula – if it’s got a story, he is, seemingly, willing to tell it. As Christopher Wheeldon’s recent Alice in Wonderland for the Royal Ballet showed, this is not as easy as might first appear. Nixon shoots straight from the hip: he...

Russian Ballet Icons Gala: Celebrating Galina Ulanova, Coliseum

Judith Flanders Sunday, 15 May 2011

Ballet galas are a curious institution. They mimic the form of “Greatest Hits” recordings, but what you get are rarely greatest hits, because they can’t be. Dance develops in its own time, its unfolding being an essential part of the magic. Rip a pas de deux (and galas circle around pas de deux like vultures in the Gobi desert) from its context, and you get pure dance, certainly; flashy dance, more than likely; lots of pyrotechnics, almost inevitably. But you don’t get the...