Closing the program is Kurt Jooss’s anti-war ballet from 1932,The Green Table, one of the greatest pieces of choreography ever created and still relevant after more than 80 years.
Reviews
Reviews of Dance and Ballet Performances
The highly anticipated world premiere of Wayne McGregor’s Borderlands, commissioned by SF Ballet, meets with a standing ovation.
It’s a good thing indeed when a visit to the ballet turns out to be a night full of surprises, all of them good.
Perhaps the best pas de deux of the evening, judging by the audience reaction, is one from Christopher Wheeldon’s After the Rain.
Is there a ballet more deceptive than Balanchine’s Divertimento from ‘Le Baiser de la Fée’? If so, I’m not aware of it.
Fallen, an exhilarating closer of the double bill, presents the company at its heart-stopping best.
Cojocaru is as great a dance-actress in the final scene as any I’ve been privileged to see – and that includes Lynn Seymour, Natalia Makarova and Ekaterina Maximova.
Which brings me to Ángel Muñoz who, with Peña, is the real star of the show. The two couldn’t be more different: Peña is all interiority and nuance, while Muñoz is all bluster and instinct.
I’m not yet fully convinced of the wisdom of New York City Ballet’s thematic seasons, organized around the music of a single composer....
The Mariinsky Ballet’s annual Baden-Baden tour is something of a balletomane’s winter retreat and, with mild weather to boot over Christmas, provided yet another opportunity this season to catch up with the St. Petersburg company.
Eiko and Koma are now in their sixties. What stays with you is the image of those bodies, tormented, trembling, vulnerable, but ultimately indestructible.
It’s not every day Petipa’s carefree Don Quixote comes with a health and safety warning. ...Injuries played havoc with the casting throughout November and December...
...it’s that ambiguity in their performances — the tension between seriousness and satire — that makes the company such a joy to watch.
City Contemporary Dance Company’s closing show of 2012 was a welcome revival of Helen Lai’s 2004 The Comedy of K, a seminal work which shows this celebrated choreographer at the height of her powers.
It's the Royal Ballet's varied and unique repertoire that has kept me loyal to the company through some very thin times as well as the golden seasons, and this programme is a nice example of what a flick through its back - catalogue can produce.
This new production of Nutcracker is ambitious with a complicated but intelligent libretto which makes a welcome change for the audience.
The middle piece, O Zlozony/O Compsite, is a beautiful work by Trisha Brown, made for the company in 2004. Bizarely it always reminds me of Ashton's Monotones...
I always enjoy The Hard Nut even though there isn’t a lot of choreography.
From start to finish this Nutcracker ...is a true Christmas gift for children and adults alike – one of the most satisfying versions of the holiday classic I have ever seen.
People talk about wanting to get new and younger audiences in for dance and this was really a great way of achieving it.