It’s a very satisfying package of liquid, sinuous movement delivered by idiosyncratic and characterful performers.
Author - Lynette Halewood
It’s a short programme but packed with memorable images, and brilliantly executed.
The unclassifiable can be good fun. That’s the lesson from Hetain Patel’s new solo show at the Lilian Baylis Studio.
But this is a really enterprising and unusual use of the Linbury space that leaves you with an intense curiosity to see what Whitley does next.
This programme exploits their open-hearted zest for dancing and gives them some meaty choreographic challenges.
One of Bintley’s other notable commitments as Director is the rapid development of young dancers. For a graduating dance student, hungry for big roles, BRB is the company to aim for....
...he, as the solo dancer in the show, is the dominating and controlling force. But much of the joy in the performance comes from the musicians he shares the stage with...
Lynette Halewood with her personal selection of London dance memories this last year...
Despite the frequency with which the work is performed, the company manage to retain a warmth and freshness in their presentation of it.
In this programme we got some shiny new toys, maybe quirkier than we imagined, but some definitely to keep and treasure.
...very definitely worth catching for an energetic and engrossing evening of dance.
This is not Cherkaoui’s most successfully realised work but his affection and respect for tango shine through, and the dancers are a joy to watch.
What the programme showed was that, unlike most of other ballet choreographers in Britain today, Bintley's work isn’t primarily about the pas de deux.
"It is performed with great commitment..." says Lynette Halewood of a Jayne Eyre ruthlessly pruned for dance...
...but the production isn’t so interested in motivation, more in grand effects, and those were delivered. It was a glittering, ostentatious performance, though not one to catch the heart.
An apologetic Liepa promised to return for a week next time and bring the new Cleopatra with him, but this was an unsatisfying evening in its current form.
I hope the company return to London, and if they do, I hope they bring some other Forsythe work.
Vardimon has harnessed the energy and liveliness of her diverse cast to produce a briskly-paced work which celebrates the group but still has moments which let the individuality of some of the cast shine through.
It is a mixed experience: too long and overworked in places, a dark vision, unevenly realised, with some striking and chilling moments.
This run is very brief. Let’s hope it returns.