Originally from London, Natasha Rogai has lived in Hong Kong since 1997 and is the dance critic of the South China Morning Post, Hong Kong’s leading English language daily newspaper. She writes regularly for The Dancing Times and was a long-time contributor to Balletco. She is Secretary of the Hong Kong Dance Alliance, the local branch of the World Dance Alliance.
Under are the articles written for DanceTabs. Reviews on Balletco
Quintessential Eifman packed with athletic choreography, striking theatrical effects and superb dancing, it makes gripping entertainment if not high art.
Bouvier’s concept is valid and interesting, the execution less satisfying. She is certainly a talented choreographer and produces some striking images…
The Bolshoi Ballet are touring ‘The Flames of Paris’ to London this summer – but Natasha Rogai recently caught up with it in Moscow for us. So what shape is the company in?
The season began with a high-energy mixed bill which showed the company on sparkling form.
Ideological qualms aside, White Haired Girl is an odd bird. The choreography is a hybrid between textbook classical vocabulary and Chinese opera, an idea interesting in itself but here executed with a lack of imagination…
“While this may not be a Nutcracker for those looking for subtlety or sophistication, it’s a fun show designed to thrill adults as well as children.
…an outstanding production which deserves to be seen again.
The choice of programme was something of a curate’s egg – disappointingly so in view of the company’s rich repertoire – but two out of the four works were excellent and the dancing was spectacular.
The company brought two contrasting programmes, one classical, In the Steps of Petipa, and one modern, 4 Tendances (Four Tendencies). Of the two, the dancers looked far more at home in the contemporary pieces…
Dominic Wong is one of Hong Kong’s more unpredictable choreographers. Each new work he creates seems to explore a new direction and Blind Chance, his latest creation for City Contemporary Dance Company (CCDC), is no exception.
Anyone who went to Les Ballets de Monte Carlo’s Le Songe, artistic director Jean-Christophe Maillot’s version of Shakespeare’s A Midsummer Night’s Dream expecting a family show will have been in for a shock. Packed with graphic sexual imagery from start to finish, this is the kind of production that has small children asking “What are they doing, Mummy?”…
Grosse Fugue by Maguy Marin… Performed with energy by the dancers and received with rapturous applause by some of the audience, this is either genius at work or less fun than watching paint dry, depending on your point of view.