“I want audiences to leave inspired, not scratching themselves in boredom."
Interviews
Interviews with dancers and others
Funding is my biggest frustration. Compared to others, we receive peanuts. We have to strip everything back. That can be healthy – forcing me to scrutinise why I want something and concentrating on production values.
ABT's run of Les Sylphides this season are different - after research, the company, under their musical director Ormsby Wilkins, have rediscovered a 1941 orchestration by Benjamin Britten. Marina Harss reveals all in conversation with Wilkins...
"A visit from Ultima Vez is something special" says Lise Smith interviewing its founder and choreographer, Wim Vandekeybus, about his latest project, 'booty Looting', a collaboration with photographer Danny Willems and which opens at London's Southbank next week - 12 November...
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.
Dance Heginbotham premieres a new full evening work, Dark Theater, later this month at the Brooklyn Academy of Music - Marina Harss talks to choreographer John Heginbotham about his latest work...
My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets...
An interview with Michaela DePrince ex Dance Theatre of Harlem and now with the Junior Company of Dutch National Ballet. Marina Harss talks to her about life and motivations and, inevitably, about DePrince often being a different colour to most other dancers on ballet stages and the issues around that...
Wherever Virginia Johnson goes, she seems to travel on a cloud, with a kind of regal composure few possess in our day. She appears imperturbable...
5 Questions to Mark Bruce about his up and coming premiere and UK tour of 'Dracula'....
Do you perceive a difference between the musicality of American dancers and that of Russian dancers? AR: There is a huge difference in the musicality. I often found Russian dancers unmusical... But they have other qualities...
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...
After twenty-six years in Miami, Edward Villella is back in New York, just across the East River from his old stomping grounds in Bayside Queens. He was an unlikely danseur, a scrappy kid...
5 Questions to Northern Ballet's Hannah Bateman on dancing in something very different from normal - Hans van Manen's Concertante and working with the man himself...
2013 is the centenary of Benjamin Britten's birth and Kim Brandstrup is part of the celebrations with important works at the Aldeburgh Festival (with the Royal Ballet) and in London (for ENO). Jane Simpson catches up with him...
5 Questions for Cathy Marston as she and Bern Ballett, the company she directs, prepare to show their latest work, Witch-hunt, at London's Royal Opera House...
5 Questions to Sarah Crompton about her new book "Sadler's Wells - Dance House"
Choreographer Christopher Wheeldon is currently at the San Francisco Ballet preparing for the American premiere of his Cinderella. He has a rehearsal in forty-five minutes so we quickly set off to discuss his latest full-length ballet and many other things...
Alonso trained the first generation of Cuban dancers, among who there were many standouts, but the most well-known in Cuba were the “Four Jewels” of Cuban ballet: Josefina Méndez, Mirta Pla, Aurora Bosch, and Loipa Araújo (now Associate Artistic Director of English National Ballet)
5 Questions for Rosie Kay – catching up on her latest work and new role as Artist in Residence at the Biocultural Variation and Obesity unit, School of Anthropology and Museum Ethnography, University of Oxford.