"Scott Joplin" tag
Chris Hampson.© Helen Maybanks. (Click image for larger version)

Christopher Hampson, Scottish Ballet’s Director, on celebrating the companies 50th anniversary in 2019 & future plans

Scottish Ballet have just announced plans for their Fiftieth Anniversary in 2019, including three world premieres – we have the full press release and touch-base with CEO/Artistic Director Christopher Hampson about the celebrations and what happens beyond…

Calvin Richardson and Matthew Ball in Obsidian Tear. © Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

Royal Ballet – Obsidian Tear, Marguerite and Armand, Elite Syncopations – London

★★★★✰   The ostensible link between the three works in this mixed bill is that they are by the Royal Ballet’s resident choreographers, past and present: Frederick Ashton. Kenneth MacMillan and Wayne McGregor. But none is typical of the choreographers’ work…

Twyla Tharp.© Robert Whitman. (Click image for larger/full version)

Twyla Tharp Dance – The Raggedy Dances, The Fugue, Entr’acte, Dylan Love Songs – New York

★★✰✰✰   It all sounds terribly promising, and yet the evening falls as flat as a soufflé left in the oven for too long.

Dance Heginbotham publicty image.© Janelle Jones. (Click image for larger version)

Dance Heginbotham – Angel’s Share, Diamond, Easy Win – New York

Heginbotham has a knack for choosing just the right music for his dances, none of it hackneyed or used solely for its atmospheric qualities: no Arvo Pärt, no Philip Glass…

Brenda Lee Grech and Victor Zarallo in a poster image for Elite Syncopations and Rite of Spring.© G W Shooting. (Click image for larger version)

Scottish Ballet – The Rite of Spring, Elite Syncopations – Glasgow

An imaginatively contrasting double-bill, it pulled in audiences and left them buzzing.

Pierre Tapon, Nancy Nerantzi and Anelli Binder in Buzzing Round the Hunisuccle.© Tony Nandi. (Click image for larger version)

Richard Alston Dance Company – Buzzing Round the Hunisuccle premiere and bill – London

Alston’s response to music is scrupulous, but Kondo’s percussive clatters, not dissimilar to John Cage’s prepared-piano poundings, takes some getting used to – for audiences, as for dancers.

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