With her startling presence, Gillot manages to supply Tree of Codes with the sense of purpose it otherwise lacks.
Archive - September 2015
Gallery by Dave Morgan...
With a feast of baroque extravagance that would please the Sun King himself David McAllister’s new Sleeping Beauty for the Australian Ballet is destined for a long life in the company’s repertoire.
Hofesh Schechter joins the ranks of choreographers who have directed (or co-directed in Schechter’s case, along with John Fulljames) Gluck’s Orpheus opera: they include Frederick Ashton, Kenneth MacMillan, Pina Bausch and Mark Morris, among others.
Gallery by Dave Morgan...
Didy Veldman's "The 3 Dancers" is premiered at the Theatre Royal Plymouth on the 23 September 2015. Gallery by Stephen Wright...
Julio Bocca, much loved but now no longer dancing, has a new life in Montevideo, running Ballet Nacional SODRE. Marina Harss talks to a busy man rebuilding his company - fast...
Amici’s production celebrating its 35th anniversary is its first for five years, during which time the company for able-bodied and disabled performers had somewhat slipped from public awareness.
Gallery by Stephen Wright...
Scarlett has somewhat adapted his No Man’s Land since its first season, down-playing the munitions factory in which the women work...
Graham Watts talks to an ex-RB Soloist doing well as a Principal at Romanian National Ballet...
Works by Akram Khan, Russell Maliphant and Liam Scarlett, Gallery by Dave Morgan.
Ballet Estable del Teatro Colon, Buenos Aires recently lived streamed Ashton's "Sylvia" from their home theatre. Graham Watts tuned in from a remote North Norfolk - it's a small world...
Gallery by Stephen Wright...
It's a significant accomplishment - Watkins has really marked his card.
I was told my body type wasn’t really ideal, and during high school I had ballet teachers who said that maybe I should consider pursuing college because my body wasn’t suitable for classical ballet...
Collaboration can be a wondrous thing, but it’s no guarantee.
If it was up to me, I would pay more [salary] to the corps than to the principals. Half the ballet depends on them, and it is very hard to be in a good mood and trying your hardest every day when you are not getting the attention and the development that we get as principals and soloists.