Royal Ballet – Back on Stage – London
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 (★★★✰✰)
RB, ABT, NYCB & NYTB dancers at the Joyce Ballet Festival – Prog C, curated by Jean-Marc Puissant – New York
★★★★✰ Starwise, Bejart’s Wayfarer bumps this program from two stars to four.
Christopher Hampson, Scottish Ballet’s Director, on celebrating the companies 50th anniversary in 2019 & future plans
Scottish Ballet have just announced plans for their Fiftieth Anniversary in 2019, including three world premieres – we have the full press release and touch-base with CEO/Artistic Director Christopher Hampson about the celebrations and what happens beyond…
Royal Ballet – Obsidian Tear, Marguerite and Armand, Elite Syncopations – London
★★★★✰ The ostensible link between the three works in this mixed bill is that they are by the Royal Ballet’s resident choreographers, past and present: Frederick Ashton. Kenneth MacMillan and Wayne McGregor. But none is typical of the choreographers’ work…
Twyla Tharp Dance – The Raggedy Dances, The Fugue, Entr’acte, Dylan Love Songs – New York
★★✰✰✰ It all sounds terribly promising, and yet the evening falls as flat as a soufflé left in the oven for too long.
Dance Heginbotham – Angel’s Share, Diamond, Easy Win – New York
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…
Scottish Ballet – The Rite of Spring, Elite Syncopations – Glasgow
An imaginatively contrasting double-bill, it pulled in audiences and left them buzzing.
Richard Alston Dance Company – Buzzing Round the Hunisuccle premiere and bill – London
Alston’s response to music is scrupulous, but Kondo’s percussive clatters, not dissimilar to John Cage’s prepared-piano poundings, takes some getting used to – for audiences, as for dancers.
