★★★★✰ Cousins and company both surprise and stir us.
Archive - March 2019
★★★✰✰ The music was striking. And ODC’s company dancers shone. Though as an overall experience, I would describe Fire as mixed.
★★✰✰✰ Could Liam Scarlett's monstrous Frankenstein be fixed with more, better surgery? Evidently not, in this revival, three years after its creation.
Marston has been working at Northern Ballet creating Victoria for the company (premiere this month) and we wanted to find out more, also catch up on other commissions and discuss just how she works creatively and manages to juggle it all so effortlessly…
★★★★✰ When Kent took the helm of Washington Ballet ...one of her goals was to raise the standard of classical technique and shape the company into a world-class ballet institution. Judging by this production, she is on the right track.
With Pepperland about to tour the UK for 6 weeks we talk to designer Elizabeth Kurtzman about her striking costumes and what it's like working with Mark Morris...
★★★★✰ Alston's choreography is formal in that it has structure, style and steps, instead of resorting to running in circles. Its partnering etiquette is courteous rather than abusive.
★★★✰✰ Liebeslieder Walzer is one of the most precious of all Balanchine’s ballets; within its fifty-minute span it seems to contain a world of emotion, both profound and infinitely civilized.
★★★★★ It was a marvellous showcase of Artistic Director Jessica Lang’s choreographic voice and the nine-member ensemble’s extraordinary talent.
★★★★✰ For a very short while, Wim Vanlessen will enjoy the claim that he has performed for the Royal Ballet Flanders for more than half its existence. The company celebrates its fiftieth anniversary, later this year and Vanlessen joined in 1994. This performance was both a celebration of exceptional long service and a farewell...
★★★✰✰ Tesseract is a curious, sometimes disorienting mix of film, live dance, and projections of filmed live dance.
Gallery by Foteini Christofilopoulou...