The gala formula really worked. An eclectic selection of dances – six duets and three short ballets – offered something for almost every taste...
Reviews
Reviews of Dance and Ballet Performances
Boonham's second piece provided some compensation. The title, 'The Human Edge', provides the clue to this, perhaps - a piece with feelings and emotions to be communicated.
In New York we are lucky to see quite a bit of Indian classical dance. The local crowd has developed a taste for it, and thus has been spoiled with some memorable performances...
The corps (in Chopiniana) must be congratulated for the ball-bearing precision in their soft gentle boureeing, gliding gently back to their original positions as the music ended. A real treat to see it done so beautifully.
Opening night of New York City Ballet’s spring season wasn’t a gala, but there was a festive buzz in the theatre nonetheless. The ballets were all by living choreographers; the oldest dated from 1988, half were of more recent vintage.
Almost 20 years since it first premiered, Matthew Bourne's sharp, satirical and exquisitely beautiful Swan Lake feels as up to the minute as if it were choreographed last week.
Choreographically Alexander Whitley's 'Kin.' was probably the best new thing I've seen BRB premiere these last 4 years...
The task Johnson faces is complicated, full of potential pit-falls. In these early seasons she is working to define the company’s character, while helping the dancers to hone their classical training and shine as individuals.
The Sunday matinee performance I attended had all the prerequisites for huge success, featuring world-class principals Paloma Herrera and Ivan Vasiliev, plus a superb supporting cast.
The big event was Light, set to the music of Phillip Glass and based upon Symborska’s poem about “that woman from the Rijksmuseum” (a reference to the servant girl that Vermeer painted pouring milk).
Jiri Kylian’s latest production, East Shadow, which has just received its European premiere at the Monaco Dance Forum, is a very curious work....
All up there was lot of thoughtful and thought-provoking contemporary movement on stage made by some of the best dramatic dancers you will see. The approach is all very grown-up and I hope they do more.
The presence of Cojocaru and Kobborg in Manon, apart from giving such pleasure in itself, lifted the Australian Ballet’s production and took it to a different level. And bouquets to Steven Heathcote for a remarkable performance as well.
Perhaps it's the case that our receptors for beauty lie close in the brain to those for horror: what else could explain how a story about two young lovers dying a needless, violent death should be so passionately, tragically beautiful.
Like it, or not, seeing Eifman's company is a very memorable thing.
This programme exploits their open-hearted zest for dancing and gives them some meaty choreographic challenges.
All up it's an entertaining and chic-looking take on Swan Lake, and one where you don't have to know the original to enjoy it. But I'm glad I have seen a pukka Swan Lake or three...
Alain Platel was inspired to make this work by the life of an elderly Brazilian woman named Estamira. Suffering from schizophrenia, yet charismatic and philosophical, she lived on a municipal rubbish dump...
Wheeldon has honed his craft in making a story ballet, much better constructed than his Alice in Wonderland. His core characters account for themselves in revealing solos and his pas de deux are no longer over-ingenious.
...the audience was in thrall to the bucolic genius of Ashton’s production with as many curtain calls at the premiere as I can recall witnessing for a very long time.