★★★✰✰ The first concert was not much of a consolation for all that we have lost. So far, the Royal Ballet appears a token add-on to the opera's contributions...
Tag - Benjamin Britten
★★★★✰ 8th March at Sadler's Wells was the last time we were able to see Richard Alston's work performed by his own company of dancers. Jann Parry with a full and perceptive review of Alston's latest work and last company show.
★★★✰✰ The emphasis here was on new. This was a night to check in on the creative efforts of two emerging voices on the ballet scene - Gemma Bond and James Whiteside.
★★★★✰ The choice of works emphasised ensembles more than individuals. It was interesting to see large numbers of young men dancing together, as well as a more usual female corps de ballet.
★★★★✰ The show overall gave us a good slice of what ballet is in 2019, and just how adaptable the students need to be these days - exciting times for them and exciting for us in the audience as well.
★★★★✰ As November fades away and December’s bustle begins, an enchanting Bay Area dance favorite returns for its annual two-week run at the Yerba Buena Center for the Arts.
★★★✰✰ A matinee in two halves: fine before the interval, with dire, dreary choreography in the second half. Thank goodness for the exhilarating Grand Défilé at the close.
★★★★✰ Suspense be damned. I’m just going to give away the ending of this review: Crystal Pite’s Plot Point, which closes Pacific Northwest Ballet’s Her Story triple bill, is a terrific piece of dance-theater.
★★★✰✰ In between the speeches and the short films came the dancing. The main attraction was the new Ratmansky work, Songs of Bukovina...
★★★✰✰ I caught all four new works: an expanded version of Michelle Dorrance’s Myelination, Kyle Abraham’s Drive, the Sara Mearns and Honji Want collaboration No. 1, and Mark Morris’s solo Twelve of ‘em for David Hallberg.
★★★★★ The programme ended with a revival of the ebullient and uplifting Gypsy Mixture...
★★★✰✰ One of this recurring festival’s strongest selling selling points is the serendipity of its pairings. You pay $15 and get a grab-bag of dance in return. You’re bound to like something.
★★★★✰ Natalie Weir's "We who are left" is nothing less than a knockout.
It's a busy time for Kim Brandstrup with premieres at Rambert, New York City Ballet and, later in spring, a full-evening work for Royal Danish Ballet. Jann Parry interviews one of the most thoughtful and reflective of choreographers...
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.
Program 3 features Hans van Manen's Variations for Two Couples, William Forsythe's The Vertiginous Thrill of Exactitude, Manifesto by Myles Thatcher and “The Kingdom of the Shades” from La Bayadère.
The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement...
The programme was so underwhelming that I went twice in succession, to see whether alternative casts could make a difference.
Having wowed London with three acclaimed seasons over the last six years, at last the Mikhailovsky Ballet make their American debut in NY. Lisa Snyder introduces the company and its repertoire...
Gillian Lynne has made Helpmann and Benthall's wartime collaboration into a gutsy dramatic ballet, probably with more choreography than Helpmann attempted.