Chamber Dance Project is essentially what it says on the tin: a small dance troupe which performs to live chamber music.
Reviews
Reviews of Dance and Ballet Performances
Australian audiences are lucky to have La Sylphide in Queensland Ballet’s repertoire...
Dancing alone, Beamish introduces his movement: silky smooth shifts, surprising twitches, lines of energy rolling through the body...
...Cuisine and Confessions is a mixture of circus arts, dance, music, narration – and cooking.
Sylvie Guillem’s farewell programme at the Coliseum (following its modest Sadler’s Wells presentation in May) is a glorious spectacle in the largest theatre in London.
Like the returning swallow, Acosta has again brought his own promise of summer sunshine to London with his unique brand of Caribbean culture.
Hercules is a cheery and entertaining piece, well thought out and delivered with great gusto.
This is not a show for the dance-studious, looking to discover a Mexican Balanchine or Forsythe, but a colourful and spectacular entertainment and I loved it - it's stampiliciously good!
It is almost eight years to the day since The Car Man was last revived at Sadler’s Wells (having premiered in 2000) and it seems even better than I recall...
In the end, SKETCH is about the artists and their learning process, and it’s our good fortune that they share it with us in performance.
...it certainly showed that Osipova is a lightning bolt which can illuminate and energise everything she appears in.
I thought this year's Royal Ballet School (RBS) performance on the main Royal Opera House stage was pretty damn' good.
I’ve seen Garrett + Moulton’s The Luminous Edge three times now, and I’ve yet to plumb its deepest currents...
The National Ballet of China dancers are beautifully trained, surprisingly tall, willowy – even the men – and delicately featured.
The long awaited collaboration between Wendy Whelan and Edward Watson has just been premiered at the Royal Opera House. Jann Parry on an interesting night...
Ballet NY's 2015 season offered a mixed bill of promising diversity... (but there is a but)
Wheeldon has two problems to contend with in Cinderella: Prokofiev’s prescriptive score and Ashton’s definitive choreography from 1948...
Enthusiasm alone doesn’t make a show a success, though, and Inala doesn’t quite succeed in melding all that goodwill into a coherent exploration of dance and music from markedly different traditions.
It is, of course, a huge show but the commitment the dancers bring to it, the excellence of the dancing and sense of joy they bring to the final movement, make it a very theatrical experience.
Two 2 casts reeviewed - led out by Stella Abrera and a guesting Marianela Nunez. But the star of Cinderella is the ballet itself – Ashton’s tribute to Petipa, to silliness, and to the power of childlike wonder...