★★★★✰ Biały Teatr Tańca (it means White Dance Theatre), is a new vehicle for the work of the uber-talented choreographer, Izadora Weiss, a protégé of the great Jiri Kylian...
Tag - The Tempest
Lynette Halewood with her personal selection of London dance memories from the past year...
★★★★✰ Wink, best seen from above, is a valuable addition to BRB’s repertoire. So is José Limon’s The Moor’s Pavane, created in 1949.
★★★✰✰ Bintley has treated Shakespeare’s drama as a masque, full of spectacle, music and dancing, with elusive characters that are more allegorical than realistic. It doesn’t work as a narrative ballet because the sub-plots are too complicated...
★★★✰✰ In a nutshell Bintley's Tempest is a visual triumph but feels slight choreographically and you'd be well advised to mug up on the story before seeing it.
Gallery by Dave Morgan...
David Bintley, director of Birmingham Royal Ballet, is a prolific choreographer and just about to unveil his latest full evening work - The Tempest. Graham Watts went to talk to him about a work, that after 30 years of consideration, has found its time and proper custom score...
★★★✰✰ What is different is the profound impact of Weiss’s choreography over this sixty-minute piece. Her movement is always busy and intensely musical but generally it is a means to an end...
★★★✰✰ Jessica Lang's Wink is an attractive piece, well designed and well made with a clear structure.
★★★✰✰ When I think of Birmingham Royal Ballet (BRB) under David Bintley I think of tradition with a capital T and the latest double bill underlines that in spades.
It seems now to be a given that any new work by Izadora Weiss will combine dramatic, narrative-based dance theatre with a profound visual impact, danced to challenging, powerful music.
Weiss is taking Baltic Dance Theatre on a journey that needs to be seen outside as well as inside Poland.
Who but Frederick Ashton could turn a marital spat into one of the most delightful, touching works in the ballet repertoire? His 1964 The Dream is precisely that...
On Sunday, American Ballet Theatre’s two-week fall season draws to a close. By most measures, it’s been a success...
Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.
Fashioning a ballet out of The Tempest is no small endeavor. How does one distill Shakespeare’s rather complex play into forty-six wordless minutes....
My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets...