★★★✰✰ Revlock “is a dance-maker whose work often depicts complicated but relatable interpersonal relationships using a vocabulary that embraces the pedestrian, abstracted by degrees.”
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Gallery by Foteini Christofilopoulou...
★★★★✰ 'Spellbound' delivered in every regard – opulent grandeur, terrific people watching and above all, marvelous dance.
★★★★✰ DELIRIOUS Dances / Edisa Weeks' "3 RITES: Liberty" is a solo that graphically shows why the Declaration of Independence did not, & does not, mean “liberty” for many African Americans...
★★★★✰ It’s not the kind of work that will persuade anyone that ballet can be a subtle, nuanced and poetic art, but it is cracking entertainment and a treat in a dreary month.
★★★✰✰ A sense of very controlled chaos accumulates. I’m sometimes reminded of the videos and installations of the artist Bruce Nauman. Her actions and interactions, including snatches of willfully, wonderfully contorted dancing...
★★★★✰ In spite of all the problems with performing a proscenium arch ballet in an arena setting with a purpose-built stage, it is no less magical than any other production and in some ways, it works advantageously.
Lynette Halewood with some reflections on London dance performances over the last year - the good and the less good...
★★★★✰ Silvestrini has fashioned a striking theatrical experience in perfect harmony with this timeless story, capped by a triumphal performance in the title role.
I don’t really believe in lists, but it’s admittedly fun to look back over the year and reflect on moments that have stayed with me. So here they are, in no particular order…
Jeffery Taylor, who died in the autumn, aged 81, was a professional dancer for sixteen years before going on to become a dance critic. Graham Watts on the real Billy Elliot...
★★★★★ Think comic opera meets dance theatre, with choreography so animated there’s no translation needed.
The achievements of RAD over the past hundred years are brought together in an impressive new book, published this month...
★★★★★ ...this revival of The Red Shoes, coming with a number of tweaks, appears even tighter and slicker than the original.
★★★★✰ Jamar Roberts' Ode was the centerpiece and the highlight of the company’s performance, which also included Aszure Barton’s Busk (a company premiere) and Darrell Grand Moultrie’s Ounce of Faith (a premiere).
★★★✰✰ Having premiered in 2010, it is now two years’ past the median lifespan of an ENB Nutcracker and – despite many attributes – the show has reached its sell-by date.
★★★★✰ Hampson has created a naturalistic and, above all, a graceful and harmonious set of steps. It's all so unforced, but it feels right and creates a beautifully rounded and satisfying production.
Heavy Handed We Crush the Moment, an immersive performance is fittingly programmed late at the Barbican Pit. It’s a relaxed and fluid set-up with dim lighting, a DJ’s deck and sculpted podiums on which the audience can sit.
★★✰✰✰ There was certainly some spectacle and some good dancing, and not just from the big stars. However, the most heavily promoted piece and world premiere was an excruciating fifteen minutes of disappointment...
★★★★✰ In Watkins’ choreography and MacGibbon’s mastery of camera angles and close-ups the narrative is crystal clear.