June 2012
Tanztheater Wuppertal Pina Bausch in Nefes. © Zerrin Aydin Herwegh. (Click image for larger version)

Tanztheater Wuppertal Pina Bausch – Nefes – London

Pina Bausch and her designer, Peter Pabst, appear to have thrown in the Turkish towel when it came to the company’s evocation of Istanbul. Maybe they were overwhelmed by the overlay of cultures, past and present.

Painting donators Jacques Azagury, Immodesty Blaize, in the 'paparazzi' area at English National Ballet's Summer Party. © Dave Morgan. (Click image for larger version)

Gallery – English National Ballet Summer Party

27 pictures by Dave Morgan…

Paul Taylor Dance Company – 7 works over 2 bills – Paris

The seven works I saw over two nights started with Aureole and ended with Esplanade, and even in these less than perfect circumstances it’s impossible to resist the enchantment of these two masterpieces. Aureole especially seems to me the essence of Paul Taylor…

John Percival, 1927 – 2012: A personal appreciation

It’s a fortunate dance-goer who can discover a critic whose opinions she can trust – doubly fortunate if it’s a critic who sees and reports on more performances than any of the rest. It’s more than fifty years since I first found that I was turning to John Percival’s reviews before anyone else’s…

BRB logo

Birmingham Royal Ballet Announcement – The Cadbury Dance Fellowship

Birmingham Royal Ballet, one of the most creative forces in British dance is to receive an award of £1,000,000 and is the only dance company amongst the 18 named recipients…

Anna Pavlova at the front door of Ivy House. © Lafayette from a Private Collection. (Click image for larger version)

An Intimate Evening with Anna Pavlova – London

The compere of the evening was Anthony Dowell, in fine voice. He spoke the narration, enacted several of the characters and gallantly danced the ‘Fred step’ from Pavlova’s ‘Gavotte’ with Ursula Hageli as Anna.

Zhang Si Yuan and Kostyantyn Keshyev in Giselle. © Conrad Dy-Liacco. (Click image for larger version)

Hong Kong Ballet – Giselle – Hong Kong

Keshyshev made a remarkable debut as Albrecht, partnering Zhang Si Yuan who was also dancing Giselle for the very first time. Both dancers were so confident, and assured, that it was hard to believe that they were actually making debuts…

Amber Scott as Tatiana & Adam Bull as Onegin in Onegin. © Lynette Wills. (Click image for larger version)

Australian Ballet – Onegin – Melbourne

Onegin has been part of the Australian Ballet repertoire since 1976, first introduced at the behest of Anne Woolliams, who worked with Cranko at the Stuttgart Ballet. Woolliams replaced Sir Robert Helpmann as artistic director of the Australian Ballet in 1976, a move that angered Helpmann…

Julie Anne Stanzak in Ten Chi. © Maarten Vanden Abeele

Tanztheater Wuppertal Pina Bausch – Ten Chi – London

Ten Chi is like a musical composition mostly in a minor key – an accumulation of moments and motifs without a strong sense of purpose. In fact, much of the recorded music seems half-heard in sleep. There’s a pervasive feeling of melancholy, of a culture beyond comprehension except in crass tourist terms.

Flawless and English National Ballet in the studio (from Against Time programme). © ENB, Laurent Liotardo. (Click image for larger version)

A Day on Tour with English National Ballet and Flawless

It is beyond obvious to see the strength of the relationship these two ends of the dance spectrum have created since being thrown together for the tour two months ago.

Melody Mennite of Houston Ballet. © Ron McKinney. (Click image for larger version)

Gallery – Urban Portrait Series by Ron McKinney

20 Pictures by Ron McKinney.

Itzik Galili's The Sofa in the 4 Tendances programme. © Sigrid Colomyes. (Click image for larger version)

Bordeaux Opera Ballet – In The Steps Of Petipa and 4 Tendances – Hong Kong

The company brought two contrasting programmes, one classical, In the Steps of Petipa, and one modern, 4 Tendances (Four Tendencies). Of the two, the dancers looked far more at home in the contemporary pieces…

Tanztheater Wuppertal Pina Bausch – Bamboo Blues – London

Once again, the performers of Tanztheater Wuppertal Pina Bausch win over the audience with an apparently effortless ease…. Anna Wehsarg – a gorgeous statuesque redhead with legs that go on forever – can just walk on the stage, gazing into the audience and she has me captured.

Karen Pilkington-Miksa. © Joshua Lawrence. (Click image for larger version)

Interview: Karen Pilkington-Miksa – Founding Director, New English Ballet Theatre

It’s a very special time when a new company is formed and about to give its very first performance – we caught up with the founding director…

New English Ballet Theatre – Inaugural performances, 4-8 July, London

Synergies is an exciting programme of world renowned choreography and four premieres by young emerging choreographers. NEBT’s dancers will perform alongside guest artists Marianela Nuñez and Thiago Soares, only on the gala night of July 5th…

Tanztheater Wuppertal Pina Bausch – Der Fensterputzer – London

Underpinning all of these familiar devices is the remarkable, intoxicating charisma of this extended family of performers, many of whom have been with the company for 30+ years. They continue to represent, with a comfortable faultless ease, Bausch’s unique cultural legacy…

Damara Vita Ganley and Felipe Barrueto-Cabello (front) with Joe Goode (back). © Margo Moritz. (Click image for larger version)

Joe Goode Performance Group – When We Fall Apart – San Francisco

If you refrain from reading any advance publicity or the program itself before you see this piece, then you will probably enjoy yourself and laugh very hard. But if you know ahead of time what he claims are his artistic goals for the production, by the end you may be… disappointed, bewildered, incredulous, perplexed, even irritated.

Kevin Jackson and Lana Jones in Dyad 1929 (Infinity mixed bill). © Lisa Tomasetti. (Click image for larger version)

Australian Ballet – Infinity Mixed Bill & Swan Lake – New York

How can a company make good impression with just a few performances of one or two programs? The pieces have to be representative, interesting, and show the company in a the best possible light. It’s not easy, as the recent Lincoln Center performances of Australian Ballet have shown.

Nina Kaptsova and Alexey Loparevich in Coppelia. © Damir Yusupov. (Click image for larger version)

Bolshoi Ballet – Coppelia – Washington

The Bolshoi’s new Coppelia was heavenly fun. Vikharev’s production brought to the fore the Russian ballet tradition of expressive pantomime and spirited ensemble dances.

American Ballet Theatre – Firebird, Thirteen Diversions, Apollo – New York

Sometimes the second time is the charm. This seems to be especially true when it comes to new ballets by Alexei Ratmansky. Often, they’re not easy to take in on first viewing, indigestible as an over-rich meal. But then, something in us changes, our eye evolves.

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