Dance
Ismene Brown
Hans Werner Henze, the composer who died on Saturday aged 86, wrote the music for one of Margot Fonteyn's signature ballets, Ondine, a ballet about an inhuman spirit who longs to be joined to a man - but when she does, he must die. It might almost be a metaphor for the death of the thought the moment it is realised.A 1958 collaboration with Britain's major choreographer Frederick Ashton, Ondine was the first full-length ballet score to be commissioned by the emerging Royal Ballet, and it was, for the very young, and creatively fluctuating Henze, a process that confirmed his instinct that Read more ...
Sarah Kent
Imagine that Rodin’s Thinker gets bored with sitting, head-on-hand, contemplating the folly of humankind and, springing to life, descends from his lofty perch above The Gates of Hell. Having been immobile for a century or more, he is extremely stiff and needs to limber up: cue for some first-rate body popping interspersed with the kind of heroic poses usually reserved for life drawing classes. This surreal scenario provides a glimpse of the contrasting ideas and impulses informing Russell Maliphant’s latest work. In The Rodin Project, images from the sculptor’s drawings and bronzes are Read more ...
Ismene Brown
Henry Goodman, Imelda Staunton and Aidan McArdle won the big acting prizes while Akram Khan and Opera North carried off the dance and opera gongs at the annual Theatrical Management Association awards - now called Theatre Awards UK. Held yesterday at the medieval Guildhall in the City of London, the awards highlight the best of theatre, dance and opera in Britain's touring theatres selected by panels of critics. They attracted a small red carpet of press photographers as eminences such as Howard Brenton, Michael Ball, Janie Dee, Culture Minister Ed Vaizey, Timothy West and Prunella Scales Read more ...
Matthew Paluch
Birmingham Royal Ballet’s second triple bill at Sadler’s Wells this week is aptly titled "Autumn Celebration", acknowledging the season’s diverse weather through eclectic, light-hearted programming.Joe Layton’s The Grand Tour is a nostalgic 1971 comedy-ballet about the heyday of the 1920s and the escapist glamour of sea travel. John Conklin’s art deco set and costume designs are supported by a Noël Coward score (adapted and orchestrated by Hershy Kay) that ranges from toe-tapping to shoulder-swooning musical numbers. Coward features as a character on board, and Layton uses other celebrities Read more ...
Ismene Brown
Tonight the Royal Ballet's live Swan Lake opens the most extensive season yet of live screenings to cinemas worldwide of the Royal Opera House's productions. Zenaida Yanowsky and Nehemiah Kish, in the leading roles of the Swan Queen and her evil counterpart Odile, and Prince Siegfried, will be beamed across oceans to cinema-goers in St Julians, Malta, to the Montevideo Moviecenter in Uruguay, as well as to the Apollo, Burnley and the Enfield Cineworld.The Opera House website lets you enter your country and postcode and instantly find cinemas near you that will simultaneously be screening the Read more ...
Matthew Paluch
Jonzi D has been integral in defining British hip hop since it first filtered over from the States in the early 1980s – and has further managed to keep his finger firmly on the pulse. His two-week residency in Sadler’s Wells Theatre’s studio sees him returning to his own work, rather than his higher-profile role curating the annual Sadler’s Wells Breakin’ Convention festival for streetdance.This week's programme, Lyrikal Fearta – Redux, is a showcase for eight existing works - risky to have so many, as you could easily lose your audience through a lack of connectivity. But they all have a Read more ...
Ismene Brown
Waves of modern dance history beat upon the shore this week with Rambert at Sadler’s Wells offering four works going back nearly 40 years, and Michael Clark’s newest Britdance creation at the Barbican. The hip people will be at the Barbican, of course, of which more further down. But if you think Clark is a shock jock, you must be as middle-aged as he is - just turned 50 he has, the man with the child in his eyes and nappy pin in his ear. Shocks, by their nature, don't last. Other things matter, like freshness, the capacity always to be new.At Rambert’s four-bill it’s the American veterans Read more ...
Ismene Brown
Has the great ballerina Tamara Rojo ever done a more nerveracking performance than she did last night in Milton Keynes? On her first night as player-manager of English National Ballet, both its new artistic director and its chief ballerina, she had to inhabit the skin of a dewy 16-year-old discovering the world - all the while watching the stage with the steel gaze of a boss to see if her employees were doing their job to standard.This is a model that is essentially unknown to British ballet for more than half a century since Alicia Markova and the Festival Ballet back in the 1950s - Read more ...
judith.flanders
The Royal Ballet’s autumn season began on Monday, but this was the eagerly awaited Swan Lake. Natalia Osipova, ex-Bolshoi, now principal with American Ballet Theater and the Mikhailovsky in St Petersburg, was making her debut as a guest with the Royal Ballet, partnered by Carlos Acosta.Osipova had, dramatically, left the Bolshoi for the smaller and less prestigious Mikhailovsky, to the puzzlement of many. But the Bolshoi streams its dancers: a certain type is classical, another is romantic, another – Osipova’s type – play soubrettes. Her Kitri in Don Quixote (first seen in London in 2007) Read more ...
Ismene Brown
For Darcey Bussell it’s Baryshnikov in The Turning Point; for Carlos Acosta it’s The Red Shoes. No one at last week's starry premiere of Love Tomorrow at the Raindance Film Festival, when I asked them for their favourite dance film, mentioned Black Swan. Films about the ballet life are rareties - are the memorable ones those that are realistic about their strenuous world or are they the expressionistic shockers that let rip with the curtains and OTT fantasies?Indeed, it’s unusual to see a dance film being made at all, let alone picked for a celebrated indie film festival like Raindance this Read more ...
Sarah Kent
I’ve seen Akram Khan’s Desh twice. The first time I sat in my favourite spot – the front row – close enough to smell the sweat drenching his shirt as the demanding physicality of this ambitious solo work became evident. But I could also see him apparently lip syncing to recordings of his own voice and, despite the potency of his close physical presence, this created a profound sense of disjunction, as though he were emotionally disengaged from the recollections and stories being told. The work is autobiographical or, rather, an exploration of identity – of what it means to be born of Read more ...
james.woodall
When she broke through in the mid-1990s, with her preposterously appropriate surname, Berlin-based Sasha Waltz was all about cheek and chutzpah. Her choreography in pieces such as Twenty to eight and Allee der Kosmonauten was often a satirical take on the local and the everyday. In Körper (“Bodies”) (2000) she delved with physiological and surrealist élan into both the fragility and adaptability of the human form, and through a trilogy of that title laid down her mark as one of the most exciting and wittiest makers of European contemporary dance.Hands more than bodies attempt some kind of Read more ...