dance
NDT2, Sadler's Wells review - a diverse triple billFriday, 18 February 2022
It's not every junior dance company that could sell out a house at Sadler's Wells. But NDT2 – younger sibling of one of Europe’s top contemporary dance ensembles, Nederlands Dans Theater, have grown over the last 35 years into a box office blockbuster in their own right. Read more... |
Saturday Night Fever, Peacock Theatre review - crowd-pleaser stays true to its rootsThursday, 17 February 2022
Wind the clock back 45 years and the Big Apple was bankrupt, the lights had gone out and many native New Yorkers were packing their bags. Gangs controlled whole neighbourhoods, drugs were the currency of choice and, for a kid with no college, prospects were strictly limited. Read more... |
Acosta Danza, Sadler's Wells review - here comes the sunTuesday, 15 February 2022
If Carlos Acosta could have bottled the year-round sunshine of his native Cuba, he would have. Instead he did the next best thing and founded Acosta Danza. Seven years later, years which included a UK tour kiboshed by the first lockdown, when the company only narrowly made it on to the last plane back to Havana, the troupe is sleeker, slightly smaller, but if anything even more ebullient. Read more... |
Kontakthof, Tanztheater Wuppertal Pina Bausch review - struggling to make contactSaturday, 05 February 2022
Twelve years may have passed since her earthly demise, but you still hear people say they saw Pina Bausch the other night. Bausch remains synonymous with the company she founded, Tanztheater Wuppertal, and with a style of dance theatre that launched an entire new category. Read more... |
Raymonda, English National Ballet, Coliseum review - a creaky old standard, lavishly restored to healthFriday, 21 January 2022
Neglected classics, whether books, plays or ballets, are usually neglected for a reason, and so it is with the three-act ballet Raymonda. A hit in 1898 for the Imperial ballet in St Petersburg but unperformed in this country since the 1960s, its ineffectual heroine, fuzzy sense of geography and offensively silly plot have made it impossible to stage in full – at least in Britain. Read more... |
Best of 2021: DanceWednesday, 29 December 2021
It was never going to be a bumper year, just a bumpy one. With theatres dark until May or later, the usual 11 or 12 months of potential live-dance going was reduced to four or five. There was one bright shaft of optimism in late spring, and another in the autumn, when the gloom-clouds parted to allow a few weeks of almost-normality. But now we seem to have come full circle. Read more... |
Matthew Bourne's Nutcracker!, Sadler's Wells Theatre review - new candy, but the nuts are offFriday, 17 December 2021
The legendary quip of a sophisticated ballet critic that we are all one Nutcracker nearer death never rang so true as now. One goes to the theatre with one’s heart in one’s mouth, behind the partypooping mask. Read more... |
Starstruck, Scottish Ballet review - smart, sassy and cinematicFriday, 03 December 2021
How do you picture Gene Kelly? Most likely in his effervescent screen persona, either as the burly ex-GI of An American in Paris, or as the hoofer without a raincoat in Singin’ in the Rain. Read more... |
Past Present, Linbury Theatre review - historic, but very much aliveThursday, 25 November 2021
Not so long ago, a few decades at most, anyone with a passing interest in dance knew what “modern” looked like. It was earthbound, usually barefoot, and it focussed on mundane movements such as walking or lying down as often as it looked like dance. It sometimes even turned up its nose at being seen in a theatre. Read more... |
Ballet Black, Linbury Theatre review - an essential part of the landscapeFriday, 12 November 2021
The colour of a shoe might seem a trivial thing. But when in 2018 the dancewear manufacturer Freed launched the UK’s first range of pointe shoes to match darker skin tones, true equal opportunity in British ballet came a big step closer. Read more... |
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