Derek Deane created a winner that always seems to sell well and which people, including me, don't grow tired of. But fill your boots this year - next year "Romeo and Juliet" returns as the ENB/RAH blockbuster
Reviews
Reviews of Dance and Ballet Performances
American Ballet Theatre have a new production of Le Corsaire. Eric Taub sees the headline casting of Natalia Osipova and Ivan Vasiliev - but was he moved and wowed? Not really...
Birmingham Royal Ballet are busy at the moment - we catch up with them touring a mixed bill, and at home in Coppelia - happy times...
American Ballet Theatre are dancing Kenneth MacMillan's Romeo and Juliet. Marina Harss reviews 2 casts: Polina Semionova / David Hallberg and Roberto Bolle / Hee Seo...
The excellence of this work comes not just with Khan’s own enormous creativity and his tour-de-force performance but in the seamless integration of the inputs of his collaborative team...
I am happy to report that the biggest discovery of the second program was The Sarasota Ballet, a company founded in 1991 and currently directed by former Royal Ballet dancer Iain Webb...
The concept might seem as dull as ditchwater but it turns out to be anything but boring. In fact, I have rarely laughed so frequently watching dance...
Vardimon has harnessed the energy and liveliness of her diverse cast to produce a briskly-paced work which celebrates the group but still has moments which let the individuality of some of the cast shine through.
The festival elects a guest director each year; Morris is the first choreographer to get the job. The seemingly ubiquitous Morris has now taken to calling the current season “my festival”; he’s only half kidding...
It’s a celebration of American ballet from coast to coast and a vivid snapshot of its diversity of style and repertory.
Johan Kobborg and Alina Cojocaru said farewell to the Royal Ballet in Mayerling. Jann Parry was there for an emotional night, flower throw and standing ovation...
But, this quibble aside, Zero provides yet more evidence of Willson and Clark continually pushing the boundaries of Clod Ensemble’s work into adventurous explorations.
A lasting impression of the performance was, as ever, the range of Cunningham’s vocabulary, from shape-making to intricate steps, leaps, spins and lifts, constantly surprising.
It’s a virtuoso accomplishment by all the collaborators. ...But Stravinsky’s score in this melodramatic recording, conducted by Kent Nagano, is too huge for a single figure.
I have to say that after seeing the Shostakovich Trilogy twice, and picking up many more details ...I found it very compelling indeed, especially the opening and closing ballets.
Creases revealed, once again, Just Peck’s ability to create strikingly imaginative patterns and formations onstage.
No-one could have expected this to be another once-in-a-lifetime explosion of genius but this is nevertheless a ground-breaking work.
At this stage, Raven Girl seems a work in transition. Its longueurs need tightening, an inexplicable ‘19th century couple’excised, solos for important characters expanded, and more light thrown on the goings-on.
...intelligent, well-structured and emotionally engaging... The more I think about Cathy Marston's Witch-Hunt, the more I admire it.
Has there ever been a more sensitive, sympathetic chronicler of that inner flutter brought on by the onset of love than Frederick Ashton? It seems unlikely, on the evidence of ABT's premiere of A Month in the Country...