More from the Cannes Dance Festival and director Brigitte Lefèvre definitely kept the best for the last night with Johan Inger’s full-length production of Carmen performed by the National Ballet of Spain...
Reviews
Reviews of Dance and Ballet Performances
What constitutes an African dance? What meaning lies behind the steps? Souleymane Badolo, born and trained in Burkina Faso and a resident of Brooklyn since 2009, has been exploring this question for years...
Somewhere between Liberace and James Brown, there exists an entity otherwise known as Michael Flatley. His flamboyance – the blousy, satin shirts, the glittering jackets – knows no bounds, nor does his insistent, swaggering virility.
For the festival Brigitte Lefèvre chose an eclectic mixture of popular and audacious programmes from twelve different companies – mainly regional French companies... some smaller independent groups and international companies from Korea, Argentina and Spain.
Endearing, intelligent and enterprising, Sikorski and Wellesley Wesley will find the right format for Nora to flourish.
It sounds like a great combination, and had some stunning moments, but turned out to be an oddly uneven experience in the theatre...
A sparse, small apartment contains much of the drama in Fernando Melo’s If Walls Could Speak, an evening-length premiere for Ballet Hispanico.
While this is a generalization, it’s safe to say the most hotly anticipated work of the night was Pite’s Polaris, set to Adès’ work of the same name.
Richard Alston Dance Company Espresso Vivace, Mazur, Burning, Brisk Singing London, Richmond Theatre 19 November 2015 www.richardalstondance.com Petite though it is, Richmond Theatre doesn’t proffer much of a sense of intimacy: its ornate décor and opera house stage design give it a grand feel, whereas The Place – Richard Alston Dance Company’s home turf – is a far simpler, tighter space, with...
Odedra undoubtedly feels passionate about dyslexia ...and succeeds here in making what might seem an unlikely subject into a compelling account of struggle and wonder.
It seems now to be a given that any new work by Izadora Weiss will combine dramatic, narrative-based dance theatre with a profound visual impact, danced to challenging, powerful music.
In Khan’s choreography, kathak’s warp-speed spins and fierce gestures are immediately recognizable yet subverted and sculpted by contemporary weightedness and extended lines.
Peña’s show, which came to the The Town Hall for a single performance, uses an extremely spare model – flamenco performance as family gathering.
The solemnity of the middle section of the programme is alleviated by irreverent visions of heaven and hell...
Butler is making a very obvious departure from the stringent formalities of traditional Irish dance.
Monotones II: Audiences are now accustomed to the manic acrobatic contortions of modern choreography, so it is rewarding to see the rigour with which the three performers (Marianela Nunez, Valeri Hristov and Edward Watson) control their elasticity.
Watching a group of men “erupt on stage”, as he describes it, had a profound effect on Rizzo – this 60-minute piece is his attempt to explore why.
...one can’t help but admire the torrent of ideas bouncing around Tharp’s brain...
More than one dancer has been dubbed a “punk ballerina” but no one deserves it more than Sylvie Guillem, who has ruffled feathers at the world’s best companies, and at 50 years old is still on top.
If you’re ever within earshot when a member of Fog Beast yells out, “Hey, kids, let’s put on a show!” – fasten your seatbelt. Because a performance by this underground San Francisco dance-theater duo is guaranteed to be a wild night.