The Royal Ballet’s 2015/2016 season is providing big opportunities for James Hay, promoted to First Soloist in June...
Tag - Romeo and Juliet
Suzanne Farrell Ballet’s new program, “Balanchine, Béjart, and the Bard,” presented at the Kennedy Center Opera House at the end of October, was dedicated to the 400th anniversary of Shakespeare’s death. It offered an appealing mix of four ballets
Transfigured Night is a piece I could watch many times and find new things in...
I rather warm to the Nureyev Romeo - its the big gory sweep of it, with more focus on the family feuding and a cinematic approach.
David Drew, for 56 years a member of The Royal Ballet, has died after a long battle with illness. He described himself as one of a ‘bridge generation’ of dancers. The longevity of his career meant that he worked with many figures from the Ballets Russees – but also taught many dancers and choreographers working today.
Heginbotham has a knack for choosing just the right music for his dances, none of it hackneyed or used solely for its atmospheric qualities: no Arvo Pärt, no Philip Glass...
We talk to Farrell about her summer program, her approach to teaching aspiring ballet dancers, her studies and work with George Balanchine and also about her her company and its new season at the Kennedy Center, which runs 30 Oct - 1 Nov 2015.
Blackburn has deconstructed the story of the play and the conventions of narrative dance. The only way to follow ‘the one-hour’s traffic of the stage’ is through video captions and quotations...
...a production that continues to set the standard against which later versions are measured.
Gallery by Dave Morgan, with Sarah Lamb and Steven McRae in the lead roles...
Julio Bocca, much loved but now no longer dancing, has a new life in Montevideo, running Ballet Nacional SODRE. Marina Harss talks to a busy man rebuilding his company - fast...
I was told my body type wasn’t really ideal, and during high school I had ballet teachers who said that maybe I should consider pursuing college because my body wasn’t suitable for classical ballet...
If it was up to me, I would pay more [salary] to the corps than to the principals. Half the ballet depends on them, and it is very hard to be in a good mood and trying your hardest every day when you are not getting the attention and the development that we get as principals and soloists.
Sylvie Guillem’s farewell programme at the Coliseum (following its modest Sadler’s Wells presentation in May) is a glorious spectacle in the largest theatre in London.
Jann Parry on the award winning Peter Schaufuss "La Sylphide", not seen in the UK in decades, and Li Cunxin's Queensland Ballet who are bringing it to London this summer. Includes an interview with Cunxin...
The Royal Ballet's Zenaida Yanowsky talks about her long career and also about the joys of working with Carlos Acosta - part of which is appearing with him in 'Cubania' this summer...
Copeland has earned her place center-stage, and it seems more likely than ever that she will be promoted to principal.
One could imagine a fine partnership developing between Cornejo and Obraztsova. Both are generous and open-hearted performers.
The million-dollar question for any dancer on the cusp is this: can they carry an evening-length story ballet? The answer, on the evidence of Copeland’s début in Romeo and Juliet, is yes.
The programme stretches and shows off the young graduates to good advantage in a well-chosen assortment.