"Mark-Anthony Turnage" tag
Zenaida Yanowsky in Symphonic Dances.© Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

Royal Ballet – Symphonic Dances (premiere), The Vertiginous Thrill of Exactitude, Tarantella, Strapless – London

★★★★✰   Symphonic Dances is Scarlett’s farewell portrait of Yanowsky. Like her, the ballet is big and bold, beautiful and elusive.

Federico Bonelli and Natalia Osipova in Strapless.© Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

Royal Ballet – Wheeldon bill: Strapless, After the Rain, Within the Golden Hour – London

★★★✰✰ Wheeldon’s talents are on display, as well as the Royal Ballet’s dancers. A pity, then, that Strapless has been exposed without previews to sort out its weaknesses.

Julia Gillespie and the company in Barak Marshall's The Castaways.© Foteini Christofilopoulou. (Click image for larger version)

Rambert – The Castaways, Subterrain, The Comedy of Change – London

There are many stand-out moments in Marshall’s work, in its humour, visual impact and through the regular break-away from the spoken text in synchronised group dancing to catchy tunes of a middle-eastern, gypsy or Yiddish style…

Ashley Page.© Ewa Krasucka. (Click image for larger version)

Ashley Page – Choreographer

Music is always my anchor. I can’t work without a very solid musical base. The lion’s share of the work I’ve made over the years has been music-led and the primary instigator in Subterrain is the Turnage music.

Trespass: corps dancers (l-r): Leticia Stock, Dawid Trzensimiech, Yasmine Naghdi, Kevin Emerton, Lara Turk, Valentino Zucchetti.© Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

Book – Titian: Metamorphosis – Art, Music, Dance

About the book, complete with 6 Dave Morgan pictures from it…

Marianela Nuñez in Liam Scarlett, Will Tuckett and Jonathan Watkins' Diana & Actaeon.© Dave Morgan. (Click image for larger version)

Royal Ballet – Titian 2012: Machina, Trespass, Diana & Actaeon – London

Seeing the programme twice confirmed my initial impression that Trespass is the best-wrought work. The other two ballets are interesting as concepts rather than as polished productions. But the programme’s emphasis on creativity and collaboration means that Monica Mason’s farewell contribution to the art form in which she has invested her considerable energy will carry on germinating ideas long after she leaves.

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