dance
Cinderella, Royal BalletSunday, 21 November 2010
Christmas rolls around, and so does Cinderella, a welcome alternative to the seasonal dance-critic bah-humbug that is The Nutcracker. First, the good news. The good news is Marianela Nuñez. Always a lovely dancer, in Ashton she just glows. No one could be more suited than she to Ashton’s fiendishly difficult petite batterie, those tiny, beaten, viciously fast steps; no one could be more suited than she to Ashton’s light, bright jumps: with her sunny temperament and... Read more... |
FAR, Random Dance, Sadler's WellsThursday, 18 November 2010
If only such a bubble of foolish hype did not follow Wayne McGregor wherever he goes, such bloated talk of reinventing dance, injecting it with brains, and infusing it with new chemical sensitivities and practically supernatural powers, one would be able to look at what his contribution to theatre is more clearly. He is not the Heston Blumenthal of dance. Read more... |
Hush/ Awakenings/ Cardoon Club, Rambert Dance, Sadler's WellsWednesday, 10 November 2010
“Nice is different from good,” sings one of Stephen Sondheim’s characters. And mostly, it is different, “nice” rarely being “good”. Christopher Bruce, however, blows that theory right out of the water, because Hush, his 2006 piece which opens Rambert’s Sadler’s Wells season, is both good and nice. And that’s much more remarkable than it seems: attempting to find the beauty, the depth... Read more... |
The Featherstonehaughs, The PlaceMonday, 08 November 2010
It’s a reasonable argument, I'd say, that it is only worth going out to see dance, or anything else, if it’s probably going to be better than telly or conversation with friends. And only if it’s also worth spending a couple of hours travel by train, say £30 to £40, tickets all told, plus a drink on the town. Something for the Arts Council to take on board when considering who to lash out £364,044 taxpayers’ annual subsidy on, no? Or too base a criterion? Read more... |
Sylvia, Royal BalletWednesday, 03 November 2010
Places, please, deliciousness, please. This is Delibes, a man whose music goes with delectable disbelief, and this is that zany thing, a Fifties nymph ballet, so let us sip hallucinogenic Arcadian cocktails and leave normality at the cloakroom. But the sheer prettiness of Léo Delibes's ballets (La Source, Coppélia, Sylvia) is too much for most dancemakers to digest. Even a choreographer so oozing charm as Frederick Ashton made no classic with his 1952 staging of Sylvia.... Read more... |
Emanuel Gat Dance, Sadler's Wells/ Henri Oguike Dance, TouringTuesday, 02 November 2010
How do young modern choreographers engage with their audience? With references from the street - motion that the audience knows and recognises? With musical expressiveness? With the development of a technical style that has a language of its own? How about with an instinct, a yearning to entertain? Surely not! Read more... |
Iphigenie auf Tauris, Tanztheater Wuppertal Pina Bausch, Sadler's WellsFriday, 29 October 2010
Iphigenia is an abandoned child, almost murdered by her father, lost in bewilderment, captured and indoctrinated in an artificial existence. It hardly matters that her father was the legendary Greek hero Agamemnon, her mother the notorious Clytemnestra. Read more... |
Nearly Ninety, Merce Cunningham Dance Company, Barbican TheatreTuesday, 26 October 2010
I’ll retain lifelong, life-changing memories of the joyous mysteries of Merce Cunningham’s dances, so it’s unimportant for me that Nearly Ninety, his final creation before his death last year, won’t be one of them. Read more... |
The Thrill of It All, Forced Entertainment, Riverside StudiosTuesday, 26 October 2010
It’s pretty hard to describe a Forced Entertainment show. But let’s try anyway: imagine a stage full of crazy dancers, the men in black wigs, the women in white ones, prancing around, flinging their arms in the air, mistiming their high kicks, and then running frantically up and down the stage. The lighting slides from bright white to sick pink, and the music is pop tunes with Japanese lyrics. Welcome to a wonderful world of controlled zany exhilaration. Read more... |
Romeo and Juliet, Birmingham Royal Ballet & English National Ballet, touringThursday, 21 October 2010
“Rudolf thought, what you wanted out of life you had to get straightaway, because if you thought about it too long, you might be dead,” said the ballerina Patricia Ruanne, the first Juliet in Rudolf Nureyev’s version of Romeo and Juliet. Coming a dozen years after Kenneth MacMillan’s landmark Royal Ballet version, Nureyev’s - for London Festival Ballet - is regrettably eclipsed, for what a powerful piece of theatre it is, and this autumn the chance to see both versions side by side... Read more... |
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