At 42, Acosta is still a powerful presence. A much-loved artist around the world, he is undoubtedly one of the greatest male dancers of his generation.
Tag - Laura Morera
Jann Parry talks to Laura Morera and Vadim Muntagirov about all things La Fille mal gardée and a few other things too...
We don't give stars but if we did this would get 5. Not to be missed.
Both Royal Ballet premieres, one by Kim Brandstrup, the other by Liam Scarlett, were surely keepers, bound to be seen again.
It is somewhat extraordinary that Anthony Dowell’s staging of Swan Lake is almost thirty years old, given the amount of reservations and mixed feelings it still elicits.
Lynette Halewood with her personal selection of London dance memories this last year…
The advantage of a big company accustomed to performing narrative ballets (something we can take for granted with the Royal Ballet) is that it is able to portray a whole society on stage.
It's always good to get back to mixed programmes after one of the Royal Ballet's long runs of blockbusters, and better still when the first item on the bill is Balanchine's timeless Serenade.
The Royal Ballet's latest triple bill has a happy beginning and a sad ending and in the middle there's Wayne McGregor's new piece, Tetractys, an emotionally-neutral blank sheet on which you can write your own feelings - or more likely, your own thoughts.
...we get a cleverly staged and very well danced psychodrama, scary both in what we see and what we further imagine. There are, though, two fundamental problems which hold the piece back from complete success.
Fascinating to see the Royal Ballet’s production of Balanchine’s Jewels not long after the Bolshoi’s account at the Royal Opera House in summer. Unlike the Russians, the Royal Ballet dancers understand the different period conventions of the three ‘acts’...
Another December, another Royal Ballet Nutcracker: anything new to report? Not much, no. And for once that's probably the answer most people are hoping to hear...
It's especially challenging for the Royal Ballet, whose repertoire and style are built on the subtle understatement of Frederick Ashton and the deep psychological explorations of Kenneth MacMillan: hot-blooded Latin exuberance is not really their thing...
It is a mixed experience: too long and overworked in places, a dark vision, unevenly realised, with some striking and chilling moments.
Watson’s Rudolf is at the end of his tether: sex is a drug, suicide his only release. ...This formidable cast will be seen in a live cinema screening from the Royal Opera House on 13 June.
There were revelations on-screen, too. ...How many first-time spectators spot that the Biedermeyer-period Christmas cake in the Act 1 party provides the marzipan-and-icing set for Act II?
Most of the dancers on stage tonight were not even born when the Royal Ballet' s current Nutcracker production was new, and many of the audience too may imagine that it's been a feature of the Christmas season forever...
It’s an interesting evening, showing both choreographer and company at their best and at somewhat less than that.
After the urban angst of Infra, Fool’s Paradise concludes the evening on a sigh of pleasure. This triple bill is proof indeed that contemporary ballet is alive and thriving.
And in the next act she (Nunez) did just that, giving us one of the best Odiles I remember seeing. She looked as if bamboozling innocently trusting princes was her favourite thing in the world, the most fun she’d ever had...