fri 29/03/2024

Jenny Gilbert

Articles By Jenny Gilbert

Swan Lake, Royal Ballet review - grand, eloquent, superb

Read more...

Dark With Excessive Bright, Royal Ballet review - a close encounter with dancers stripped bare

Read more...

La Strada, Sadler's Wells review - a long and bumpy road

Read more...

Manon, Royal Ballet review - a glorious half-century revival of a modern classic

Read more...

Giselle, English National Ballet, Coliseum review - if you go down to the woods today, beware of the Wilis

Read more...

Best of 2023: Dance

Read more...

Nutcracker, Tuff Nutt Jazz Club, Royal Festival Hall review - a fresh, compelling, adult take on a festive favourite

Read more...

The Limit, Linbury Theatre review - a dance-theatre romcom that lacks both rom and com

Read more...

Anemoi / The Cellist, Royal Ballet review - a feast of music in a neat double bill

Read more...

Song of Songs, Pam Tanowitz/David Lang, Barbican Theatre review - sublime music and intricate dance bring life to a 2,000-year-old love poem

Read more...

Don Quixote, Royal Ballet review - crazy Russian-Spanish romcom, brilliant dancing

Read more...

Ballet Nights, Lanterns Studio Theatre review - dance gets its own cabaret season

Read more...

Ailey 2, Marlowe Theatre, Canterbury review - young, black and fabulous

Read more...

Ballet Flamenco Sara Baras, Sadler's Wells - a roaring start to the Flamenco Festival

Read more...

Untitled, 2023 / Corybantic Games / Anastasia Act III, Royal Ballet review - a magnificent end to the season

Read more...

Nederlands Dans Theater (NDT1), Sadler's Wells review - an extinction rebellion in dance

Read more...

Pages

latest in today

Bach's Easter Oratorio, OAE, Whelan, QEH review – the j...

Waiting, and hoping, may prove just as intense an experience as the fulfilment of a wish – or of a fear. Bach knew that, and infused his Easter...

Album: Jane Weaver - Love In Constant Spectacle

“Motif,” Love In Constant Spectacle’s fourth track, is the closest Jane Weaver has come in over a decade to the folk influences embraced...

First Person: author-turned-actor Lydia Higman on a play tha...

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead...

The Origin of Evil review - Laure Calamy stars in gripping F...

A young woman (Laure Calamy; Call my Agent!; Full Time; Her Way) is trying to pluck up the courage to call her...

Foam, Finborough Theatre review - fascism and f*cking in a G...

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet...

Album: Ride - Interplay

What a time to be alive it is for fans of late Eighties, early Nineties ...

Schubert Piano Sonatas 4, Paul Lewis, Wigmore Hall review -...

“Death doesn’t scare me at all,” said my friend Christopher Hitchens during our last telephone conversation. “After all, it’s the only certainty...

Vossa Jazz 2024 review - Norwegian festival embraces William...

“The name of this group is Mayan Space Station.” In spite of the billing as The William Parker Trio, their bassist – coolly introducing himself as...

First person: playwright Paul Grellong on keeping pace with...

I’m writing this in the lobby of the...