Dance
Le Corsaire, London Coliseum review - hugely entertainingFriday, 10 January 2020
It’s unlikely that Lord Byron would recognise much about Le Corsaire. Beyond the characters’ names and the Ottoman location, there is little trace of the 1814 bestselling verse-novel on whose fame the ballet hitched a ride. Its plot is very silly... Read more... |
Best of 2019: DanceSunday, 29 December 2019
For dance lovers, it was a year of heavy hitters. There were visits from two of America’s biggest and best, both the Alvin Ailey company and San Francisco Ballet bringing generous programmes of new work. The mighty Bolshoi’s summer programme at... Read more... |
The Red Shoes, Sadler's Wells review - the ultimate stage movieMonday, 16 December 2019
Matthew Bourne’s tally of hits is such that many of his dance-drama interpretations of old ballets and films were labelled “classic” as soon as they appeared. Yet The Red Shoes, Bourne’s 2016 tribute to the 1948 film, is arguably the one that most... Read more... |
Radio & Juliet/Faun/McGregor + Mugler, London Coliseum review - a fashion faux pasTuesday, 10 December 2019
A pas de deux is normally an opportunity for two dancers to express the pinnacle of their skill and the choreographer's art. In the case of McGregor + Mugler, the duet receiving its world premiere as part of a Russian-sponsored triple bill, it... Read more... |
Svetlana Zakharova, Modanse, London Coliseum review - impeccably chic but soul-lessThursday, 05 December 2019
What price a pair of seats at the ballet? If you’re talking the latest starry Russian import then, with a few perks thrown in, you might not see much change from £800. And yet the size of the first-night crowd queuing for Modanse, a double bill... Read more... |
Coppélia, Royal Ballet review - a real charmerWednesday, 04 December 2019
In featuring ordinary people and things rather than magic curses or avenging ghosts, Coppélia stands apart in the canon of 19th century ballets. The only mystery about this delightful old production is why the Royal Ballet has not programmed it for... Read more... |
Acosta Danza, Sadler's Wells review - a dose of Cuban sunThursday, 21 November 2019
Second album, second novel, second tour programme – the follow-up is always tricky. But the timing couldn’t be better for Acosta Danza, the Havana-based dance company which made its UK debut in 2017. These 20 young Cubans, handpicked by Carlos... Read more... |
Natalia Osipova: Pure Dance, Sadler's Wells review - a great ballerina branches out, againFriday, 25 October 2019
Sometimes a dance talent arrives that causes the ground to shift and alters the landscape. Natalia Osipova is one such. Not content to be queen of all she surveys at the Royal Ballet, she is hungry for new territory. Pure Dance is the second solo... Read more... |
Concerto/Enigma Variations/Raymonda Act III, Royal Ballet review - time to cheer the corps de balletWednesday, 23 October 2019
As a mood-lifter, it’s hard to beat the opening of Concerto. Against a primrose sky, figures in daffodil, tangerine and brick form lozenges of fizzing colour, foregrounded by a leading couple so buoyant their heels barely ever touch down. Kenneth... Read more... |
The deathless Alicia Alonso, in personFriday, 18 October 2019
The magnificent, controversial Cuban ballerina Alicia Alonso, who asserted that she would live to 200, died yesterday in Havana, aged nearly 99. Legends are always well protected by their own mythology, yet in 2004, when attending the Havana Ballet... Read more... |
Cross Currents/Monotones II/Everyone Keeps Me, Linbury Theatre review - the Royal Ballet finds the missing linkTuesday, 15 October 2019
This programme of three short works is all about influence, specifically the supposed cross currents between ballet and contemporary dance in the latter half of the 20th century. The irony is that this is the first time that the Royal Ballet has... Read more... |
Dada Masilo's Giselle, Sadler's Wells review - bold, brutal, unforgivingTuesday, 08 October 2019
The most arresting thing about Dada Masilo’s contemporary South African take on Giselle is Masilo herself. Tiny and boyishly slight, she inhabits her own fast, fidgety, tribal-inspired choreography with the intensity of someone in a trance. Costumed... Read more... |
