Shobana Jeyasingh has been celebrating her 25 years in dance during 2013 and this special anniversary is here marked by a double bill that presents works from the opposite ends of her dance company’s timeline.
Author - Graham Watts
There is surely something excellent lurking within this work, the intent of which I have failed to perceive, but I will just have to wait for The Choreographer’s next Cut to get it.
There are many stand-out moments in Marshall’s work, in its humour, visual impact and through the regular break-away from the spoken text in synchronised group dancing to catchy tunes of a middle-eastern, gypsy or Yiddish style...
This production, in this place, is about as good as it gets. If it doesn’t win a slew of awards for Mark Bruce and his team then I might just have to go walking around those East End Alleys in search of the vampire bride!
Music is always my anchor. I can’t work without a very solid musical base. The lion’s share of the work I’ve made over the years has been music-led and the primary instigator in Subterrain is the Turnage music.
The ethereal impact is greatly enhanced by atmospheric lighting, smoke, the sound of bells and the sundry, diverse smells of devotion in this old Grade-1 Listed Victorian church.
Despite many memorable highlights ...I felt frequently as if an interloper in someone else’s conversation, one taking place in a language that I only barely understood.
In short, it was foot-tapping fun!
A major triumph throughout the work is a seamless integration of dance with all other theatrical elements.
I said it was the must-see show of the year in 2008, and – while there are a lot of great musicals now around in the West End today - this is still one that must be seen.
his diverse selection of 17 works (including musical interludes) is a gala in all but name and this one could have been sub-titled “Gems of The Royal Ballet” for all nine dancers hail from that company...
Graham Watts was at the Palais Des Congres for us to celebrate the 75th anniversary of Rudolf Nureyev's birth...
Words with the man and thoughts on the Behind the Scenes at The Royal Ballet book from Graham Watts. Details of his next book too - on Natalia Osipova...
The excellence of this work comes not just with Khan’s own enormous creativity and his tour-de-force performance but in the seamless integration of the inputs of his collaborative team...
The concept might seem as dull as ditchwater but it turns out to be anything but boring. In fact, I have rarely laughed so frequently watching dance...
But, this quibble aside, Zero provides yet more evidence of Willson and Clark continually pushing the boundaries of Clod Ensemble’s work into adventurous explorations.
No-one could have expected this to be another once-in-a-lifetime explosion of genius but this is nevertheless a ground-breaking work.
At the end of Bye, a man nearby leapt to his feet and shouted “awesome”. She sure is.
Graham Watts braved 21 hours of flights and missed connections just to spend a night at the Yekaterinburg Opera House followed by a meeting with its new(ish) Director of Ballet, Slava Samodurov, a former Principal at The Royal Ballet...
The title of Kate Prince’s latest extravaganza is way too modest. On the basis of the universal adulation pouring from this audience, not just at the end but throughout the show, it would appear that EVERYONE likes it hip hop.