★★★✰✰ Liam Scarlett treats Mary Shelley’s 1818 gothic horror novel, Frankenstein, as essentially a domestic drama.
★★★★✰ Wheeldon has succeeded in turning an often intractable play into an emotionally moving ballet.
This Nutcracker production has the best conclusion of any…
It’s especially challenging for the Royal Ballet, whose repertoire and style are built on the subtle understatement of Frederick Ashton and the deep psychological explorations of Kenneth MacMillan: hot-blooded Latin exuberance is not really their thing…
It is a mixed experience: too long and overworked in places, a dark vision, unevenly realised, with some striking and chilling moments.
45 pictures from 2 photocalls by Dave Morgan…
Don’t expect big emotional highs and lows or deeply defined characters, just a clear narration of a story that everyone knows. So if we judge it on these terms how does it do?
McGregor’s influence is visible across the programme, not so much in the movement style but in the extreme formal abstraction of the work. A little form can go a long way…
I saw the first cast led by Jin Yao, the top ballerina in the company. Her acting was superb, and her dancing too had a warm glow throughout.
Balanchine famously described a choreographer’s job as being like a chef’s, and his Ballo della Regina perfectly fulfils the role of amuse-bouche in the Royal Ballet’s latest double bill, waking us up and sharpening our appetites for the more serious fare of Bournonville’s lovely La Sylphide. It’s the fourth ballet the company has tried out in this role and I think it’s the most successful.
Kochetkova and Domitro, together and separately, dance extraordinarily well. They don’t have the elusive chemistry that she has with Boada, but they still are very much in tune with each other, both musically and artistically, and make a very satisfying partnership.
Every review of La Fille mal Gardée should start with an acknowledgement that, however excellent the performance may have been, the greatest credit belongs to Frederick Ashton, who more than 50 years ago put this happy masterpiece together in a few weeks of cheerful collaboration with his dancers.
In a life at the BBC the director, Bob Lockyer, was an outstanding champion of dance for the camera. Now 70, he is still indefatigable in his enthusiasms
Fortunately, Jerome Robbins’ West Side Story Suite, the final dance of the evening, was anything but tedious. One of the greatest entertainers in ballet, Robbins knew how to keep his audiences awake, engaged, and excited.
Bob Lockyer must be truly proud of his birthday gift: not a dud amongst the commissions he has brought about, sending three young choreographers on their way to a promising future.
I want to bring more of the public to the artform and see the enjoyment it brings. I suppose I believe I have something to say!
The crowd erupted in cheers. Ek’s piece hints at another side of Guillem, a goofier, simpler human being beneath the veneer of the icon. If it feels a little coy, well, maybe it is, maybe it isn’t. It’s a smart, well-calibrated program in every sense.