The choreographer & Ballet Zurich director talks about creating a new dramatic work for the Bolshoi based on Virginia Woolf's 'Orlando', on working with the Moscow dancers and the general travails of dance creation during a world-changing pandemic.
Tag - Elgar
★★★★✰ Cathy Marston has achieved much in bringing the life of Jacqueline du Pré to the ballet stage and perhaps one of the things that becomes even clearer with repeated viewings, is that the music and the dance are inextricably linked.
★★★★✰ 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.
★★★✰✰ In The Cellist, Cathy Marston has taken on a challenging subject for her first commission for the Royal Opera House stage: the real-life story of a much-loved musician Jacqueline Du Pré...
Cathy Marston on The Cellist & Mrs. Robinson – new works for The Royal Ballet & San Francisco Ballet
In the next two months Cathy Marston has premieres at The Royal Ballet (17 February) and San Francisco Ballet (24 March) - Jann Parry talks to Marston about the inspiration and making of two special works...
★★★★✰ It is all too easy to assume that the first triple bill of the Royal Ballet's autumn season celebrates its creative heritage from the 1960s. In fact, two of the ballets were made for other companies...
★★★★✰ Matthew Bourne celebrates the 30th anniversary of his own company at the same time as Tate Britain has launched "Queer British Art 1861-1967" to mark the 50th anniversary of the decriminalisation of homosexuality. "Early Adventures" could be a theatrical coda to the exhibition...
Lynette Halewood with her personal selection of London dance memories this last year…
The Paul Taylor Dance Company, rechristened Paul Taylor’s American Modern Dance, is in the midst of its yearly three-week New York run at the Koch Theater. This is a pivotal time for the company...
Lloyd has written widely on English composers and is meticulous in combing together many fragmentary impressions of Lambert. The book weighs over 1.5 kilos, 419 pages of small print, most heavily annotated in smaller print still, with a further 150 pages of appendices.
"It is performed with great commitment..." says Lynette Halewood of a Jayne Eyre ruthlessly pruned for dance...
Dance is a difficult thing to experience outside of the theatre, but for the sustainability of the artform it has to find a way to make itself more widely available.