In the genealogy of dance, kathak and flamenco share common ancestry.
Tag - Michael Hulls
Lynette Halewood with her personal selection of London dance memories this last year…
If there’s a linking rationale between the sequences, other than one of physical contrasts, it’s not evident. Lecavalier cannot fail to be riveting because of her compelling presence, as androgynous as David Bowie, as vulnerable as Wendy Houstoun...
It’s a short programme but packed with memorable images, and brilliantly executed.
Dust is a resounding success for Khan as creator, Rojo as artistic director and both as performers.
Gallery by Dave Morgan...
...very definitely worth catching for an energetic and engrossing evening of dance.
No sets – just glorious lighting designs playing essential roles in the performances.
Still / Current is a marvellously evocative title for Maliphant’s work, capturing the mercurially elusive quality of his choreography and his own dancing. And the good news is that Maliphant is back on stage...
The excellence of this work comes not just with Khan’s own enormous creativity and his tour-de-force performance but in the seamless integration of the inputs of his collaborative team...
Fallen, an exhilarating closer of the double bill, presents the company at its heart-stopping best.
More than sculpture, the choreography reminded me of exhibitions of body-building.
The Rodin Project suffers from the same structural problems as Maliphant’s expanded Afterlight. He’s poured his and his dancers’ creative energies into a superb solo or duet. Then...
It's the name of the game that one does not necessarily appreciate all plans (or indeed how they crystallise out in practice) but I have to say that Sadler's Wells set a benchmark re new work/experiences and for where you want a progressive art to be.
Nothing in contemporary dance is more guaranteed to provoke controversy than the Place Prize, now returning for its fifth edition, organised by the excellent team at The Place...
I'm not sure if this collaboration pushed borders or changed my mind on disability but what I do know is that it was a fine piece of work and I'm very glad I saw it.
Rambert... offers a mix of new commissions with rarely-seen work from their archives. Some items had much more impact than others, though not necessarily the ones you might imagine from the programme.
After all the fuss about Sergei Polunin abruptly leaving the Royal Ballet, guess who stole the Men in Motion show? Daniel Proietto, in the AfterLight solo Russell Maliphant made for him in 2010. Admittedly, you could read the 15-minute solo as a warning of the fate awaiting a troubled dancer deprived of the support of a company of colleagues