It’s a really demanding work, and the intimate setting of the Purcell Room brings you up close to every drop of sweat.
Tag - Debussy
5 Questions to Paul White. Last year Australian Paul White danced at the Southbank Centre in Meryl Tankard's 'The Oracle' and won a UK National Dance Award for Outstanding Performance. This week he dances in a new piece at the Southbank - another winner? We catch up with him...
His body is like a cubist deconstruction of the human form, all angles and planes. His fingers and wrists can be as rigid as hammers or as florid as Moorish arabesques.
Boris Eifman can never be accused of shying away from the obvious... His representation of the life and times of Auguste Rodin creates spectacular and absorbing dance theatre...
Royal Ballet and other Dancers Gala for Ghana London, Britten Theatre, Royal College of Music, 2 February 2012 Original programme details www.ashanti-development.org Sunday’s gala evening of music and dance raised money for the charity Ashanti Development, set up at the request of Ghanaians living in London: they asked their friends and neighbours for help to improve the lives of people in their...
Novels are treacherous terrain for choreographers. So much of what draws us into a book and imprints itself in our imagination ...is almost impossible to convey in the language of the body.
One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”
Dance Odysseys at the 2013 Edinburgh Festival with reviews on 20 dance works by Scottish Ballet, Scottish Dance Theatre, Gelabert Azzopardi Companyia de Dansa, James Cousins and Rosie Kay. Also thoughts on 4 rare films and links to much video material and many other reviews. It's big!
The choreography looks like a steroid-fueled hybrid of Graham-based agony and the precision and fluidity of classical ballet. ...nothing succeeds like excess...
Though this year it was Nijinsky’s turn to be reclaimed as a Russian icon, the contents of the gala had little to do with him. Very probably the choice of items – mainly pas de deux - depended on which dancers were available to perform whatever was in their repertoire.
Firebird: To Williamson’s credit, the action, though baffling, never palls. He knows how to deploy a diverse cast, using an interesting vocabulary of classical ballet steps and partnering. He’s obviously fired up his dancers to commit themselves to their roles, flaunting their glitzy costumes with panache. But it’s a muddled piece, overpowered by Stravinsky’s myth-making music.