dance
Manon, Royal BalletThursday, 21 April 2011
Manon, Manon, the little minx. Here she comes again - for the 223rd time, last night - and like the legendary ladies of her trade, scrubs up fresh and newly captivating, as if she’d only just skipped off the carriage from the convent. Read more... |
Pina 3D/ Giselle 3DTuesday, 19 April 2011
Pina Bausch decided: “Words can’t do more than just evoke things - that’s where dance comes in.” Well, up to a point, Lord Copper. Only if they’re bad words and good dance - bad writhing instead of, say, Shakespeare’s words isn’t much of a swap. Read more... |
Rosas, Bartók/ Mikrokosmos, Sadler's WellsSaturday, 16 April 2011
Sometimes, watching contemporary dance, you feel that no choreographer has ever known a happy moment – such angst, such grief, such terrible agony rolls over the footlights out to the audience that arriving at the theatre feeling mildly content can seem like an act of subversion. On their last night of this too-short season, however, Anne Teresa de Keersmaeker’s Rosas company produced one of her most joyous and enjoyable pieces. For as the choreographer reminds us here, joy, cheerfulness and... Read more... |
Thamar/ Sheherazade, Les Saisons Russes, London ColiseumThursday, 14 April 2011
We’ve been so well educated or so roundly brainwashed to expect a certain high standard of Russian ballet that to experience the first two programmes of the three offered by the “Russian Seasons" team at the Coliseum, so-called tributes to Diaghilev, is more than a shock - it’s a brain injury. Read more... |
The Blue God/ The Firebird, Les Saisons Russes du XXI Siècle, London ColiseumWednesday, 13 April 2011
Anyone who feels, as I do, that the Aesthetic Movement's "cult of beauty" now on display at the Victoria and Albert Museum can't compare with the fabulous... Read more... |
Alice, Scottish Ballet, Glasgow Theatre RoyalWednesday, 13 April 2011
As the young waitress said in the restaurant where we ate after last night’s world premiere of Ashley Page’s Alice in Glasgow, she hadn’t ever been to ballet, but she was tempted to go for this - “It’s Alice after all, isn’t it? Wonderland. I’d love to see Wonderland.” The kind of new audience that any company should kill for. And my friend said, sadly, yes, that’s what we’d also supposed it would be. "So shall I go?" she said. We said, um, you’re right. Ballet is the... Read more... |
Rosas, Fase, Sadler’s WellsSunday, 10 April 2011
How do simple things get complicated? How do they stay simple once they are complicated? These might, perhaps, be the questions from which choreographer Anne Teresa de Keersmaeker, starts. But in fact, she starts, as all great choreographers do, with the music. “Music is always my first partner,” she once said. And in Fase: Four Movements to the Music of Steve Reich, three linked duets and one solo, there are indeed three people on stage: de Keersmaeker herself, the wonderful... Read more... |
The Place Prize for Dance/ Cinderella, Royal BalletThursday, 07 April 2011
Reports of ballet’s death are greatly exaggerated, but I’m not equally sanguine about the craft of choreography. Having sat dumbstruck through the four limping dogs masquerading as finalists in The Place’s prize “for dance” [sic] on Tuesday, I found myself amazed, simply amazed, all over again at the fecundity and sheer knowledge of Ashton’s Cinderella, having its umpteenth revival last night at the Royal Ballet. Read more... |
Daniel Linehan, Sadler's Wells, Lilian Baylis TheatreWednesday, 06 April 2011
Photography is linked closely with memory. Photographs help us recall family, friends, holidays, and it can attest to an event. But one could argue that it actually serves a purpose of forgetting. As we are immersed in a digital age, the photograph becomes a series of binary numbers which doesn’t exist until it is written or printed, and which can be erased as easily as it is captured. Photographs are now as close to human recall as technology will allow. Daniel Linehan's Montage for... Read more... |
Cinderella, Birmingham Royal Ballet, London ColiseumTuesday, 29 March 2011
Birmingham is the fount of beauty and magic when it comes to ballet design. Covent Garden - forget it, too much money, too little taste. What illustrates that truism is the comparison that can be made between the Royal Ballet’s cartoony Cinderella production returning to WC2 next week and the magical visual experience that is John Macfarlane’s vision for Birmingham Royal Ballet’s new Cinderella, having its London premiere at the Coliseum this week. Read more... |
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