The most impressive (if not, incredible) thing is that his scratch company exudes the professionalism that one would expect from a tight-knit group that has lived, trained, rehearsed and performed together for seasons.
Collaboration is the theme running through dancer/choreographer Tim Casson’s Wild Card evening at Sadler’s Wells; it’s also the foundation stone of his Casson & Friends project, running since 2012.
Boston Ballet – Program B: Symphony in Three Movements, L’Apres-Midi d’un Faune, Plan to B, Bella Figura – New York
…the dancers seem able to handle whatever comes their way. It’s a quality that will serve them well in their travels.
The company embraces the turn-of-the-20th-century Cecchetti Method, more concerned with anatomic integrity than with razzle-dazzle. Cecchetti’s motto is “purity of line, simplicity of style.” You get the idea.
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.
If you think about it, Nutcracker lends itself quite naturally to an erotic treatment. Coming of age story, voyage of discovery, fantasy playground filled with tantalizing delights
A Rite, in the hands of Jones, Bogart, and Wong, is the most startling and insightful version I have seen…
Earlier this month Smuin Ballet danced their XXtremes bill in San Francisco with works by Amy Seiwert, Jiri Kylian and Michael Smuin. Aimée Tsao with thoughts on the bill and where the company might be heading…
The first bravo for the Boston Ballet’s return to London must go to artistic director Mikko Nissinen, for his clever and highly successful programming for opening night.
The choreography looks like a steroid-fueled hybrid of Graham-based agony and the precision and fluidity of classical ballet. …nothing succeeds like excess…
It’s Valentine’s Day and I wish I could write a “love letter” review to the Hamburg Ballet. I am not being sentimental – this company is full of incredible dancers, from principals to corps de ballet…
What one does not see much of, at least at first glance, is nostalgia for the motherland. “I never had nostalgia about anything,” Baryshnikov says.
More than sculpture, the choreography reminded me of exhibitions of body-building.
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.
Rambert… offers a mix of new commissions with rarely-seen work from their archives. Some items had much more impact than others, though not necessarily the ones you might imagine from the programme.
In format Suite en Blanc reminds me a little of Harald Lander’s Etudes, and it certainly fulfils the same purpose in providing the company with a spectacular programme-closer. ENB may be going through a difficult period but they don’t let it show on stage.
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.
After all the fuss about Sergei Polunin abruptly leaving the Royal Ballet, guess who stole the Men in Motion show? Daniel Proietto, in the AfterLight solo Russell Maliphant made for him in 2010. Admittedly, you could read the 15-minute solo as a warning of the fate awaiting a troubled dancer deprived of the support of a company of colleagues