"Benjamin Britten" tag
Emma Love Suddarth and William Lin-Yee in Crystal Pite’s Plot Point.© Angela Sterling. (Click image for larger version)

Pacific Northwest Ballet – Her Story: Her Door to the Sky, Afternoon Ball, Plot Point – Seattle

★★★★✰   Suspense be damned. I’m just going to give away the ending of this review: Crystal Pite’s Plot Point, which closes Pacific Northwest Ballet’s Her Story triple bill, is a terrific piece of dance-theater.

Christine Shevchenko and Calvin Royal III in Alexei Ratmansky's Songs of Bukovina.© Marty Sohl. (Click image for larger version)

American Ballet Theatre – The Gift, Songs of Bukovina, Thirteen Diversions – New York

★★★✰✰   In between the speeches and the short films came the dancing. The main attraction was the new Ratmansky work, Songs of Bukovina…

David Hallberg in Mark Morris’s Twelve of ‘em.© Stephanie Berger. (Click image for larger version)

Fall for Dance – New works by Michelle Dorrance, Kyle Abraham, Sara Mearns and Honji Wang, Mark Morris – New York

★★★✰✰   I caught all four new works: an expanded version of Michelle Dorrance’s Myelination, Kyle Abraham’s Drive, the Sara Mearns and Honji Want collaboration No. 1, and Mark Morris’s solo Twelve of ‘em for David Hallberg.

Nicholas Shikkis, Nancy Nerantzi, Ihsaan de Banya, Elly Braund and Nicholas Bodych in Gypsy Mixture.© Dave Morgan. (Click image for larger version)

Richard Alston Dance Company – Glint, Tangent, Chacony, Gypsy Mixture – London

★★★★★   The programme ended with a revival of the ebullient and uplifting Gypsy Mixture…

Marianna Krempeniou, Liam Riddick, Oihana Vesga Bujan, Nancy Nerantzi and Elly Braund in Richard Alston's Rejoice in the Lamb.© Chris Nash. (Click image for larger version)

Fall For Dance Festival – Program 2: Richard Alston, Aszure Barton, Wendy Whelan, Edward Watson, Grupo Corpo – New York

★★★✰✰   One of this recurring festival’s strongest selling selling points is the serendipity of its pairings. You pay $15 and get a grab-bag of dance in return. You’re bound to like something.

Jack Lister in Natalie Weir's We who are left.© David Kelly. (Click image for larger version)

Queensland Ballet – Lest We Forget: We who are left, Company B, In the Best Moments – Brisbane

★★★★✰   Natalie Weir’s “We who are left” is nothing less than a knockout.

Kim Brandstrup.© Johan Persson. (Click image for larger version)

Kim Brandstrup – Choreographer

It’s a busy time for Kim Brandstrup with premieres at Rambert, New York City Ballet and, later in spring, a full-evening work for Royal Danish Ballet. Jann Parry interviews one of the most thoughtful and reflective of choreographers…

Beata Giza and Beniamin Citkowski in Phaedra.© K Mystkowski. (Click image for larger version)

Baltic Dance Theatre – Phaedra, The Tempest – Gdansk

It seems now to be a given that any new work by Izadora Weiss will combine dramatic, narrative-based dance theatre with a profound visual impact, danced to challenging, powerful music.

Norika Matsuyama and Steven Morse in Thatcher's Manifesto.© Erik Tomasson. (Click image for larger version)

San Francisco Ballet – Program 3 including Myles Thatcher premiere – San Francisco

Program 3 features Hans van Manen’s Variations for Two Couples, William Forsythe’s The Vertiginous Thrill of Exactitude, Manifesto by Myles Thatcher and “The Kingdom of the Shades” from La Bayadère.

Olga Semyonova (Teresa) and Maxim Podosyonov (Cornet) in Le Halte de Cavalerie.© Sveta Tarlova. (Click image for larger version)

Mikhailovsky Ballet – Le Halte de Cavalerie, Class Concert, Prelude – New York

The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement…

Edward Watson, Beatriz Stix-Brunell and Alexander Campbell in Kim Brandstrup's Ceremony of Innocence.© Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

Royal Ballet – Ceremony of Innocence, The Age of Anxiety, Aeternum – London

The programme was so underwhelming that I went twice in succession, to see whether alternative casts could make a difference.

Natalia Osipova and Ivan Vasiliev in Don Quixote.© Stas Levshin, courtesy the Mikhailovsky Ballet. (Click image for larger version)

The Mikhailovsky Ballet’s American Debut at the Lincoln Center

Having wowed London with three acclaimed seasons over the last six years, at last the Mikhailovsky Ballet make their American debut in NY. Lisa Snyder introduces the company and its repertoire…

Delia Mathews (The Suicide) and Cesar Morales (The Stranger) in Miracle in the Gorbals.© Bill Cooper. (Click image for larger version)

Birmingham Royal Ballet – La Fin du jour, Miracle in the Gorbals, Flowers of the Forest – London

Gillian Lynne has made Helpmann and Benthall’s wartime collaboration into a gutsy dramatic ballet, probably with more choreography than Helpmann attempted.

Nancy Nerantzi and Liam Riddick in Martin Lawrance's Burning.© Chris Nash. (Click image for larger version)

Richard Alston Dance Company – Burning, Rejoice in the Lamb, Holderlin Fragments, Overdrive – Edinburgh

It may be his name only on the posters, but Richard Alston firmly shares the limelight with Martin Lawrance in this quadruple bill, which sees the premiere of Lawrance’s new work, Burning, placed alongside three of Alston’s own pieces.

Danielle Brown and Ricardo Rhodes in Frederick Ashton's Birthday Offering.© Frank Atura. (Click image for larger version)

Sarasota Ballet – Sir Frederick Ashton Festival, Programmes 1-4 – Sarasota

Both as a tribute to Ashton and as a coming-out party, it’s hard to imagine how the festival could have gone better. The ballets are in good hands.

Momoko Hirata (Princess Belle Sakuma) and Joseph Caley (Salamander Prince) in The Prince of the Pagodas.© Bill Cooper. (Click image for larger version)

Birmingham Royal Ballet – Prince of the Pagodas (Caley/Hirata) – London

In his programme note, Bintley claims to have foregone sexual romance in favour of ‘something more mystical and subtle’, connected with Japanese veneration of its Imperial family. It doesn’t resonate in this royal kingdom.

Artists of Birmingham Royal Ballet as Yokai in The Prince of the Pagodas.© Roy Smiljanic. (Click image for larger version)

Birmingham Royal Ballet – Prince of the Pagodas (Bracewell/Roberts) – London

One of Bintley’s other notable commitments as Director is the rapid development of young dancers. For a graduating dance student, hungry for big roles, BRB is the company to aim for….

Artists of Birmingham Royal Ballet as Yokai in The Prince of the Pagodas.© Roy Smiljanic. (Click image for larger version)

Birmingham Royal Ballet – Prince of the Pagodas – Salford

Bintley has created a solidly entertaining family work that never bores but never soars to another emotional level, either…

Dusty Button in William Forsythe’s The Second Detail.© Dave Morgan. (Click image for larger version)

2013 Dance Memories – London

Lynette Halewood with her personal selection of London dance memories this last year…

Josh Wille in Jose Agudo's Ki.© Brian Slater. (Click image for larger version)

Phoenix Dance Theatre – Particle Velocity tour – London

Phoenix Dance Theatre are part way through their Autumn “Particle Velocity” tour – Paul Arrowsmith caught up with them in London at their Royal Opera House Linbury performances…

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