Of all the school shows I most appreciate the one by Central School of Ballet. Their show, under the name Ballet Central, invariably has the widest range of dance, from ballet to contemporary to musical theatre and more. And importantly they tour it...
Author - Bruce Marriott
Although his movement is as unfussy as dress-down Friday, in the bedroom and tomb scenes he delivers handsome images of love and grief.
All up this was a solid night and a good complement to ENB's 'Lest We Forget' (WW1) bill that was so recently on the main Barbican stage. But I hope that next year they return to a more open choice on what choreographers can do and also concentrate on choreography rather than include musical soiree interludes.
"Super - absolutely spot on" I thought when Tamara Rojo announced Alison McWhinney and Junor Souza as joint winners of the company's Emerging Dancer Competition.
I thoroughly applaud the move to widen the choreographic vocabulary of what they present and I hope they can tour such a bill in future. A bravo to David Nixon (AD) and Mark Skipper (Chief Exec) for making this happen...
There were two bright spots in a show calling out Fado without so much Fado - the dancing of Nuno Silva and Stephanie Dufresne.
Boonham's second piece provided some compensation. The title, 'The Human Edge', provides the clue to this, perhaps - a piece with feelings and emotions to be communicated.
Choreographically Alexander Whitley's 'Kin.' was probably the best new thing I've seen BRB premiere these last 4 years...
All up there was lot of thoughtful and thought-provoking contemporary movement on stage made by some of the best dramatic dancers you will see. The approach is all very grown-up and I hope they do more.
Like it, or not, seeing Eifman's company is a very memorable thing.
All up it's an entertaining and chic-looking take on Swan Lake, and one where you don't have to know the original to enjoy it. But I'm glad I have seen a pukka Swan Lake or three...
This is top-notch, thoughtful and satisfyingly un-sensational dance drama.
Bintley has created a solidly entertaining family work that never bores but never soars to another emotional level, either...
And the opening night? Well it was a typical night in many respects - one piece giving cause for hope, another had its fleeting moments and the third wasn't really ready yet for the big time.
Nothing says more about Rambert's need for new premises than a sign taken down from one of the old studios: "Jumping is not allowed in this studio due to structural weakness"
This is as powerful as dance theatre gets and a bill that connects and chimes with us all.
They say of designer Paul Smith that his style is 'classic with a twist' and the same might often be said of Michael Clark - classical (ballet) steps with a twist or...
A first night of superlatives and Tamara Rojo's done the country (not just London) a terrific service in her first full-evening commission. You'd be daft to miss Le Corsaire as it tours the UK. Bravo all.
Sans 3D and distilled down there is a compelling 40-minute work in here (part of a double bill), but at 70 minutes Atomos felt too long.
Dance Odysseys at the 2013 Edinburgh Festival with reviews on 20 dance works by Scottish Ballet, Scottish Dance Theatre, Gelabert Azzopardi Companyia de Dansa, James Cousins and Rosie Kay. Also thoughts on 4 rare films and links to much video material and many other reviews. It's big!