his diverse selection of 17 works (including musical interludes) is a gala in all but name and this one could have been sub-titled “Gems of The Royal Ballet” for all nine dancers hail from that company...
Tag - Kenneth MacMillan
If the choreography was a mixed bag there was a clear flip side, or rather two. This year's standard, particularly on the boys' side, gave cause for celebration at the strength on show...
Bouvier’s concept is valid and interesting, the execution less satisfying. She is certainly a talented choreographer and produces some striking images...
The music for all three of the pieces on Richard Alston's latest DVD may be 'all American' but the choreography isn't: there's nothing here to dilute Alston's reputation as the most 'all English' of today's major dancemakers...
The pleasure lies in the quality of dancing rather than interpretation. Petit was an expert at animating a stage, a musical-theatre choreographer who delivered what audiences expected...
We are pleased to announce the appointment of Christopher Powney to the new post of Artistic Director Designate. Christopher will take up his position in April 2014.
David Wall, member of The Royal Ballet and English National Ballet, sadly died on 18 June 2013 - he was 67.
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...
6 pictures of a unique Rite of Spring danced by thirty 9-10 year olds. Pictures by Sim Canetty-Clarke, courtesy the Royal Opera House.
Award winning British choreographers Akram Khan, Russell Maliphant and Liam Scarlett will all create new works for English National Ballet, as part of a programme of dance inspired by the centenary of the Great War.
Graham Watts braved 21 hours of flights and missed connections just to spend a night at the Yekaterinburg Opera House followed by a meeting with its new(ish) Director of Ballet, Slava Samodurov, a former Principal at The Royal Ballet...
The ballet succeeds most in its incidental scenes – though everything is presented fortissimo. Most clever is the way in which Nixon depicts Myrtle and George Wilson ...The performances of Benjamin Mitchell and Victoria Sibson were the strongest of the evening.
The result is oddly old-fashioned - even more so than John Cranko’s version, which the Canadians had performed since 1964.
The season began with a high-energy mixed bill which showed the company on sparkling form.
Well, the set is spectacular, by the ever-resourceful Steven Scott. Perhaps Igor Zelensky and Sergei Polunin had simply seen stills of Peter Schaufuss’s Midnight Express when they agreed to appear in the ballet.
His choreography is busy, occasionally predictable, but more often inventive, strong on musicality and both remarkably fluid and emotionally charged; stretching the dancers both literally and in terms of their artistic diversity.
A tribute to Nina Ananiashvili - with personal memories - on her 50th birthday.
Though this year it was Nijinsky’s turn to be reclaimed as a Russian icon, the contents of the gala had little to do with him. Very probably the choice of items – mainly pas de deux - depended on which dancers were available to perform whatever was in their repertoire.
Possokhov’s Rite of Spring is a mixture of mostly good choices with a few that seem rather odd to me.
This triple bill, with two world premieres, shows how ably choreographers 85 years apart can refresh the language of classical ballet without distorting it beyond recognition.