Dance
Helen Hawkins
The finale of the Royal Ballet’s 2025-26 programming is an extraordinary sight. At the curtain call for Salle de danse, a world premiere from Sol León and Paul Lightfoot, there are so many dancers taking a bow that they have to take turns to come forward, in two different rows, each as wide as the stage. That’s before the conductor and creatives join them.León and Lightfoot’s visit is yet another canny – and generous – piece of scheduling by director Kevin O’Hare, a way to give a sizeable chunk of his company a piece to get their teeth into, with grandstanding turns in the spotlight for many Read more ...
theartsdesk
We are bowled over! We knew that theartsdesk.com had plenty of supporters out there – we’ve always had a loyal readership of arts lovers and professionals alike – but the response to our appeal to help us relaunch and reboot has been something else.Our fundraiser is rolling towards hitting the halfway mark, and it’s already raised enough to repair our ageing site and ensure its survival. But just as important to all of us have been the messages of love and support from our readership. It’s not just the morale boost of being praised either – though let’s be honest, the warm glow is pretty Read more ...
Sarah Kent
Rambert is celebrating its first 100 years with a triple bill that emphasises the youthful vitality of the company. “We’re 100, and we’re just getting started,” they enthusiastically declare. “The next century starts here.” Like many of the best things in Britain, our first dance company was set up by an immigrant – a Polish woman dedicated both to dancing and promoting others. On leaving Diaghilev’s Ballet Russes where she’d danced with Nijinsky, Marie Rambert came to this country in 1914.As a child she was nicknamed “Quicksilver” because she never stopped moving, and on arrival she Read more ...
Helen Hawkins
South Korea’s soft power isn’t restricted to K-pop and K-drama. The latest Festival of Korean Dance, hosted by venues around the UK, is a demonstration that its contemporary dance scene is impressive too.Now in its ninth iteration, this year I caught two of the festival’s programmes, one indie, the other by the Korea National Contemporary Dance Company, who presented a piece on a double bill that was so good, I returned the next night to catch it again.The other offering from the KNCDC, Voyage, could have been from another planet. Indeed, it claims to be inspired by the Voyager spacecraft’s Read more ...
Helen Hawkins
Former Royal Ballet principal Federico Bonelli has brought his Northern Ballet company south in the latest of its trademark narrative ballets. His dancers are a huge credit to him, but I wish they were appearing in a more challenging piece.The television adaptation of Anne Lister’s story put her firmly on the map as an early sighting of an English lesbian. Her sexual preferences, unlike male homosexuality, weren’t technically illegal but were still shocking to the politer parts of Victorian society, Those who saw the two TV series may find this stage version a tad tame, though at least they Read more ...
Jenny Gilbert
Contrast and variety are as vital in a three-ballet programme as in a well-built sandwich. Typically that might include textural interest, a spicy element and something substantial in the middle. Alchemies, the Royal Ballet’s latest triple bill, ignored that time-tested formula with the result that not one of the three works by Wayne McGregor registered as strongly as it should. Granted, the final item was a world premiere, so management couldn't have known exactly how it would turn out. On paper, Quantum Souls (terrible title), with its wall of onstage percussion instruments surrounded by Read more ...
Body & Soul, English National Ballet, Sadler's Wells review - a surefire hit and an absolute plonker
Jenny Gilbert
If it were true, as Timothée Chalamet has said, that ballet as an art form has become a museum, the job of running a national ballet company would be easy. Ballet never ceases to evolve, and to prove the point I’d be happy to offer the actor my plus-one on any night of his choosing, if only he’d return my calls.English National Ballet has been as front-footed as any in the business of supporting new work, new talents, new directions. This takes an appetite for risk and above all money. After seeing the company’s latest double bill, which included a world premiere by an untried choreographer, Read more ...
Jenny Gilbert
Search “black ballerinas” online and you will be offered shoes, which doesn’t say much for the racial diversity of classical dance in today’s Britain. Black male dancers, even at principal level, are not doing badly, and there has been the odd breakthrough for their female counterparts, with Birmingham Royal Ballet leading the way. But the fact that Ballet Black is now marking its 25th birthday – it having been conceived to give exceptional dancers of colour a platform – suggests that things haven’t changed nearly enough.Founded by a 21-year-old with a vision in 2001, Ballet Black is also a Read more ...
Ismene Brown
Few dancers have the luck to find a permanent place in history through their role in a new creation as Matz Skoog did in 1987. The Swedish star of the then London Festival Ballet, who died last weekend aged 69 from cancer, was one of the mesmerising original trio in a protest ballet that touched a nerve in its own era, and would then travel across four decades to become a classic. Swansong, choreographed by Christopher Bruce for Festival Ballet in a conscientious response to rising world protests at the disappearance of loved ones into the oblivion of Chilean prisons, seemed to portray a Read more ...
Jenny Gilbert
Visual artists gave up on titles long ago, resorting to neutral labels such as Untitled. Choreographers still feel bound to tag their works descriptively, which can be a challenge if the dance is about everything or nothing. The Irish director-choreographer Michael Keegan-Dolan found a neat solution in MÁM , the 80-minute piece he made when he first arrived in West Kerry in 2019, choosing an Irish word that means so many things, and so many different things, that as a title it can only suggest everything and nothing all at once. A mountain pass, a burden or obligation, a handful of Read more ...
Helen Hawkins
In 2007, Pina Bausch was preparing her company’s latest “city piece”, this one based on a visit to Kolkotta. But she was also brewing up something special, a work for six of her long-serving women dancers, created separately from the city piece but out of the same set of questions.Even if Bausch hadn’t somehow sensed the need to do something for her female troupers while she could (she died suddenly in 2009), the piece is inherently like a memorial, a call for the dancers to be remembered. Indeed, they insist on it. These are regular self-exposers, anyway – a line of beauty queen contestants Read more ...
Jenny Gilbert
The jury was out when Ballet Nights first made its pitch to the dance-curious – a potential audience, the thinking went, that might be nervous about signing up to the full three-act deal in an opera house but could be tempted by something more akin to a variety show, a curated mix of classical and contemporary with a compère to schmooze them through it. With no item lasting longer than 10 minutes and some as little as three, Ballet Nights would be a tasting menu, in effect, and each would be a one-off event. A nice idea, but is it sustainable? Apparently, yes. Three years on, Ballet Nights Read more ...