Lynette Halewood with her personal selection of London dance memories this last year...
Archive - December 2013
I have yet to see a less than full-throttle performance, even when a choreographer’s style does not quite fit the company’s technique...
The production provides a welcome showcase for the power and virtuosity of the company’s men who are on magnificent form, led by the splendid Chen Jun.
Ah, the brilliance of brevity. Scott Wells & Dancers plunge straight into Father On with a thirty-second audio track that sums up courtship, marriage,and conception.
Fascinating to see the Royal Ballet’s production of Balanchine’s Jewels not long after the Bolshoi’s account at the Royal Opera House in summer. Unlike the Russians, the Royal Ballet dancers understand the different period conventions of the three ‘acts’...
Strongest to emerge was Dzierzon's 'Hikikomori' apparently about social reclusiveness, though Dzierzon’s treatment of her theme was not didactic...
The' Wind in the Willows' is the Royal Opera House’s first transfer to the West End. I hope other shows will follow...
Gallery by Foteini Christofilopoulou...
So far this season I’ve seen three “traditional” Nutcrackers: Ratmansky’s version for American Ballet Theatre, Gelsey Kirkland’s, and the familiar and much-loved 1954 staging by George Balanchine for New York City Ballet. All three have their charms...
Gallery by Dave Morgan...
While some of the views expressed may not chime with your own, the fascination of this book is to understand how contentious maintaining and developing ballet as vibrant theatre often is.
...Hallberg’s entrance drew gasps and shouts of ‘bravo’ from the audience. His magnificently stretched jetés soared through the air...
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.
I’m not ashamed to admit to a tear in my eye at the final curtain...
Despite the frequency with which the work is performed, the company manage to retain a warmth and freshness in their presentation of it.
Christopher Hampson's production, set to Engelbert Humperdinck's 1893 opera score, dances round traditional perceptions of good and evil, raising sinister notions about the invisibility of danger lurking in the real world.
Gallery by Foteini Christofilopoulou...
Gallery by Foteini Christofilopoulou...
What made this Peter so right-feeling was that all elements of the show — storytelling, music, stage action — were so well integrated.
Baryshnikov has plenty of speaking lines, which he delivers with persuasion and notable dramatic skill... Yet his main strength here is his body language.