★★★★✰ This is very much a film: though it is based on an earlier Sidi Larbi Cherkaoui work 'When I’m Laid in Earth', its dreamlike tone and unnerving effects owe much to Thomas James’s imaginative camerawork and his interest in the supernatural...
Tag - Purcell
The entire Royal Ballet were back on stage and performing for a live audience last Friday in a gala style show which was/is also streamed. Jann Parry was mightily impressed with the dancing and repertoire (★★★★★) if not so much with the live audience experience in a Covid aware Opera House (★★★✰✰)
★★★✰✰ A very mixed bill... Sidi Larbi Cherkaoui's Medusa (★★✰✰✰), Christopher Wheeldon's Within the Golden Hour (★★★★✰) and Crystal Pite's Flight Pattern (★★★★✰)
★★★✰✰ Bouder's pick-up ensemble of eight, which she refers to as an arts collaborative, reflects her ideals. It is racially diverse; the choreographers include both men and women. Not all the choreographers are white. This should be par for the course, but it’s not.
★★★✰✰ The one thing you can be assured of when you step over the threshold of the Place's Resolution season is surprise.
★★★✰✰ Jessica Lang's Wink is an attractive piece, well designed and well made with a clear structure.
Spring Forward is a three-day festival of contemporary dance, presented by Aerowaves, which confidently declares itself to be a ‘hub for dance discovery in Europe’...
Both Royal Ballet premieres, one by Kim Brandstrup, the other by Liam Scarlett, were surely keepers, bound to be seen again.
Lloyd has written widely on English composers and is meticulous in combing together many fragmentary impressions of Lambert. The book weighs over 1.5 kilos, 419 pages of small print, most heavily annotated in smaller print still, with a further 150 pages of appendices.
As he has shown again and again, the choreographer Mark Morris has a way with Baroque music. He clearly adores it...
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...
A major triumph throughout the work is a seamless integration of dance with all other theatrical elements.
It is something of a cliché to say it, but the guiding principle of Morris’s Dido - as in the more recent Socrates - is simplicity. No single element - musc, words, dance - is privileged above the others.