Only the official retirement age of 42 requires him to leave the company, alas, though he may be invited back as a guest.
Author - Jann Parry
...it’s very Russian in its mixture of comedy, satire and luscious spectacle – and first-class performances.
If there’s a linking rationale between the sequences, other than one of physical contrasts, it’s not evident. Lecavalier cannot fail to be riveting because of her compelling presence, as androgynous as David Bowie, as vulnerable as Wendy Houstoun...
The result is enchantingly low-tech, re-created afresh at every performance
Wheeldon has honed his craft in making a story ballet, much better constructed than his Alice in Wonderland. His core characters account for themselves in revealing solos and his pas de deux are no longer over-ingenious.
Dust is a resounding success for Khan as creator, Rojo as artistic director and both as performers.
In his programme note, Bintley claims to have foregone sexual romance in favour of ‘something more mystical and subtle’, connected with Japanese veneration of its Imperial family. It doesn’t resonate in this royal kingdom.
Wonderful how Petit’s youthful melodrama (Le Jeune et la Mort) still works its power, performed with commitment and coached by an expert – Luigi Bonino, one of Petit’s favourite dancers
Now in its thirteenth year, Ballet Black’s specialness is not the colour of its performers’ skin but the quality and quantity of the works its director, Cassa Pancho, commissions: over 30 new ballets to date. Where else could ballet dancers experience such a cornucopia of creativity?
Royal Ballet and other Dancers Gala for Ghana London, Britten Theatre, Royal College of Music, 2 February 2012 Original programme details www.ashanti-development.org Sunday’s gala evening of music and dance raised money for the charity Ashanti Development, set up at the request of Ghanaians living in London: they asked their friends and neighbours for help to improve the lives of people in their...
...the men Ivan Putrov has chosen for his latest Men in Motion programme are exceptional dance-interpreters, not self-glorifiers...
It looks as though Natalia Osipova is to become Sylvie Guillem’s successor at the Royal Ballet, giving her idiosyncratic interpretation of a role whether or not it aligns with the company’s existing production.
Anna-Marie Holmes’s latest staging of Le Corsaire has proved to be a triumph for English National Ballet...
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’...
Who knew that Beethoven composed his own cover version of ‘Sally in our Alley’? Mark Morris, obviously: the (English) song is the centrepiece of The Muir...
Eighty years after Robert Helpmann left Australia and joined the Sadler’s Wells Ballet company, a Royal Ballet School symposium celebrated his achievements as a man of the theatre.
Reid Anderson can certainly pick dancers and choreographers in the making. We really do need to see Stuttgart Ballet more often in order to keep up with his discoveries.
No sets – just glorious lighting designs playing essential roles in the performances.
The Royal Ballet’s autumn season triple bill offered very different ways of presenting bodies in space: anatomical studies in an architectural limbo (Chroma); flying figures in constant flux (The Human Seasons); a tribal community following ritual patterns (The Rite of Spring).
It’s a powerful piece of theatre, driven by music that expresses the hard-living, drug-fuelled romanticism of the spirits who inhabited the hotel...