dance

Strictly Gershwin, English National Ballet, London Coliseum

Ismene Brown Friday, 06 January 2012

Craig Hassall, English National Ballet’s managing director, apologised ironically at theartsdesk’s Dance Question Time in November for putting on popular work at ENB, meaning Strictly Gershwin, a song-and-dance entertainment to follow the music-and-dance entertainment that is The Nutcracker.

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2011: Mariinsky, Manon, and a German Dane

Judith Flanders Sunday, 01 January 2012

Highlights of the year are always interesting. Things you loved at the time do, sometimes surprisingly, fade very quickly. I really enjoyed the Gabriel Orozco retrospective at the Tate: I thought it inventive and exciting. But now I have hardly any memory of it, and can no longer visualise what enthused me. (Well, apart from the sweet photos of two scooters flirting with each other. But that’s really not enough.)

2011: From Russia - With Love?

Tom Birchenough Saturday, 31 December 2011

It took a relatively little-noticed television documentary, Vlad’s Army, broadcast in Channel 4’s Unreported World strand to confirm that theartsdesk has a readership in Russia. Peter Oborne’s film (the presenter pictured below) caught the pro-Kremlin youth movement, the Nashi, with its defences down, and the result depicted, no holds barred, how politics works there today.

2011: Ballerinas, Cuts and the Higgs Boson Theory

Ismene Brown Saturday, 31 December 2011

The year’s best arts story was not the cuts (which isn’t art, it’s politics), but the appearance in Edinburgh of a mysterious series of 10 magical little paper sculptures, smuggled into the city’s libraries by a booklover. No name, no Simon Cowell contract - it proved the innocent gloriousness of the human impulse to make art, a joy that has no expectation of reward but without which no existence is possible.

Slava's Snowshow, Royal Festival Hall

Ismene Brown Thursday, 29 December 2011

Slava’s Snowshow is a Christmas package you don’t want to have unwrapped for you by someone else's description - it’s a fantastical, childlike, theatrical experience that for many is among the most profoundly delighting of their theatre-going experience, for others an empty whimsy.

The Nutcracker, Birmingham Royal Ballet, O2 Arena

Ismene Brown Wednesday, 28 December 2011

It would always be a risk putting such a gossamer Christmas charmer as The Nutcracker into a gargantuan Mammonite cavern like the O2 Arena, where magic only counts if it rings loudly in the coffers - car park £25! programmes £10! As with the Royal Ballet’s Romeo and Juliet last June, Birmingham Royal Ballet have put up a cinema screen to enable thousands of viewers far away to catch what looks dolls-house-sized in real view.

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Matthew Bourne's Nutcracker!, New Adventures, Sadler's Wells Theatre

Ismene Brown Thursday, 15 December 2011

Here’s a mindboggling statistic. By my calculation, some 330,000 seats are going to be offered for sale in London and Birmingham for just one ballet this Christmas - that’s live seats, not counting the three (yes, three) cinema screenings of foreign Nutcrackers being beamed into the UK on a lot of holiday dates. So the dance industry reckon to sell up to half a million Nutcracker seats mostly in London in a bit over a month?

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The Nutcracker, English National Ballet, London Coliseum

Ismene Brown Friday, 09 December 2011

I don't want to get the blues at The Nutcracker of all ballets. It should be all snow and Christmas, flowers and presents, firelight, moonlight, candlelight and unearthly brilliance.

The Nutcracker, Royal Ballet

Judith Flanders Sunday, 04 December 2011

The Nutcracker, if this isn’t too much of a mixed culinary metaphor, divides audiences like Marmite: love it or hate it. Usually it’s the critics who hate it, and for them it is often only the annual round of Nuts to be Cracked that wears on the soul. It is hard to imagine, otherwise, that anyone with functioning ears can fail to be thrilled as what is arguably Tchaikovsky’s greatest orchestral work begins to swell from the pit.

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UnDance, Mark-Anthony Turnage/Wayne McGregor/Mark Wallinger, Sadler’s Wells

Judith Flanders Friday, 02 December 2011

It is unusual in art for collaborators to be of equal star-wattage. The pairing of Benjamin Britten and WH Auden was one such. Another, much longer-lasting, was Stravinsky and Balanchine, a partnership of equals that endured for nearly half a century. More recently, Antony Gormley has worked with both Akram Khan and Sidi Larbi Cherkaoui, to great effect.