Shobana Jeyasingh has been celebrating her 25 years in dance during 2013 and this special anniversary is here marked by a double bill that presents works from the opposite ends of her dance company’s timeline.
Tag - London
Nothing says more about Rambert's need for new premises than a sign taken down from one of the old studios: "Jumping is not allowed in this studio due to structural weakness"
Gallery by Foteini Christofilopoulou...
Who knew that Beethoven composed his own cover version of ‘Sally in our Alley’? Mark Morris, obviously: the (English) song is the centrepiece of The Muir...
Eighty years after Robert Helpmann left Australia and joined the Sadler’s Wells Ballet company, a Royal Ballet School symposium celebrated his achievements as a man of the theatre.
In this programme we got some shiny new toys, maybe quirkier than we imagined, but some definitely to keep and treasure.
They say of designer Paul Smith that his style is 'classic with a twist' and the same might often be said of Michael Clark - classical (ballet) steps with a twist or...
...very definitely worth catching for an energetic and engrossing evening of dance.
So the company showed well enough to save the afternoon – but how much better they would look in a stronger piece.
Gallery by Foteini Christofilopoulou...
Phoenix Dance Theatre are part way through their Autumn "Particle Velocity" tour - Paul Arrowsmith caught up with them in London at their Royal Opera House Linbury performances...
Reid Anderson can certainly pick dancers and choreographers in the making. We really do need to see Stuttgart Ballet more often in order to keep up with his discoveries.
No sets – just glorious lighting designs playing essential roles in the performances.
Funding is my biggest frustration. Compared to others, we receive peanuts. We have to strip everything back. That can be healthy – forcing me to scrutinise why I want something and concentrating on production values.
Gallery by Dave Morgan...
Booty Looting isn't afraid of opening a rabbit-hole or two in its exposition of performance and visual art; almost everything in the show refers to itself in a never-ending loop that will either delight or madden its audiences.
The Royal Ballet’s autumn season triple bill offered very different ways of presenting bodies in space: anatomical studies in an architectural limbo (Chroma); flying figures in constant flux (The Human Seasons); a tribal community following ritual patterns (The Rite of Spring).
It’s a powerful piece of theatre, driven by music that expresses the hard-living, drug-fuelled romanticism of the spirits who inhabited the hotel...
Gallery by Dave Morgan...
Richard Alston's devotion to Britten's music goes back 50 years, and for his programme at the Barbican Theatre he's made two new works to be shown alongside two from an earlier stage in his career.