Dance
Ismene Brown
These past five days in May have seen some fairly oddball goings-on labelled as "New Dance at the Southbank Centre". Accidentally coinciding with other oddball goings-on on the national scene, since it was booked up long ago before elections were called. But no double-act in politics is likely to be quite as peculiar and weirdly stimulating as that between the Spanish cabaret artiste La Ribot (often to be found nude) and the postmodern French choreographer Mathilde Monnier, playing two sides of a woman who can’t help being at war with herself, like slapstick twins or conjoined politicians. Read more ...
theartsdesk
Johan Persson took the photographs for The Royal Ballet's world premiere of Liam Scarlett's Asphodel Meadows, which opened on 5 May 2010. Read theartsdesk's review of the ballet here.The music is Francis Poulenc's 1932 Concerto for Two Pianos; design is by John Macfarlane, and lighting by Jennifer Tipton. The Royal Opera House Orchestra was conducted by Barry Wordsworth, with pianists Robert Clark and Kate Shipway.Click on a photo to enter the full view and slideshow.[bg|/johanpersson/asphodel_meadows]Opening tableau: Marianela Nuñez, Tamara Rojo and Laura MoreraArtists of The Royal Ballet: Read more ...
Ismene Brown
Wonder of wonders - a really cracking triple bill at the Royal Ballet last night. The best of the year, by a country mile, and probably the best for several years: a top-notch beauty from Christopher Wheeldon, the love-it-or-loathe-it Marmite of Mats Ek’s Carmen, and in between a comely and reverberant new ballet from a very young Royal Ballet choreographer who looks set to go places.Liam Scarlett is only 24 but has spent long enough in his schooldays choreographing feverishly to count as an alumnus of best Royal Ballet values. Like Wheeldon, he sculpts graceful, organically flowing balletic Read more ...
Ismene Brown
As we look on the strictly dieting future that undoubtedly waits for the more esoteric arts after Thursday’s election, it’s evident that the dance landscape has already been blighted - and self-blighted, at that. Somewhere in the past few years a loss of confidence in dancing itself has allowed expressive and aesthetic exploration to become increasingly replaced by undemanding scenic gimmicks and numb circus derivations, subtle matters by dim clichés. My depressed thoughts after watching two of the middle scale shows that used to be common all over Britain and now are scarce as hens’ teeth. Read more ...
Ismene Brown
The Society for Theatre Research’s book of the year award has been won by ballet critic Jann Parry for Different Drummer, her biography of the Royal Ballet choreographer Kenneth MacMillan. The book was chosen this morning in a tight finish at the post above Susie Gilbert’s Opera for Everybody: the Story of English National Opera, Andrew Stott’s The Pantomime Life of Joseph Grimaldi, The Cambridge Introduction to Theatre Historiography by Thomas Postlewait and The Oxford Handbook of Early Modern Theatre, edited by Richard Dutton (Oxford University Press). Sheila Hancock presented the accolade Read more ...
Ismene Brown
Gnosis means spiritual knowledge, or recognition. Surely Akram Khan has some unusual intuition about what it means to die, since his latest creation is truly a dance of death and the gods certainly seem to have been bent on preventing it.It was intended to be unveiled last November, but Khan hurt his shoulder. It was then intended to be premiered in Abu Dhabi - but the sheikh died on the day of the premiere. It was then supposed to be premiered in Oman - but it was cancelled two days before. It was then at last premiered in Istanbul last week - while the Icelandic volcano ash billowed over Read more ...
Ismene Brown
I’ve seen raping Popes, I’ve seen more naked guys dancing with waggling penises than I can count, I’ve seen naked breasts on dancing girls for what feels like all my adult life. But a man with a blood-stained prosthetic cock that looks like a baby’s bottle? A teacher munching a testicle off his pupil? Well, lor' love a duck.Daniel Kramer’s florid, lurid production of Pictures from an Exhibition, a collaboration with the Young Vic last year, made it to its partner theatre, Sadler’s Wells, this weekend, a creation where theatre, music and dance elaborately combine in a lustily gory trip into Read more ...
james.woodall
If you're going to dance before the future King of England, and your company bears his family's crest, you'd better dance well. No one could really be in any doubt that the Royal Ballet would put on a grand show with its new revival of Frederick Ashton's 1960 La Fille mal gardée; but it was only at the end, when a shimmering cast in this always shimmering production took its bow with emphatic gestures to a box up on the right, that some of us in the audience realised who'd been watching [wrote James Woodall on 10 March. Ismene Brown reviews a second cast below.]Prince Charles and his wife are Read more ...
Ismene Brown
Good dancing - never mind great dancing - calls for an investment of imagination in every point of the foot, every raise of the arm. Why otherwise do the constant drill of turning out the leg, stretching the instep, taking fifth position, if the performer does not find something to stimulate them to make it personal, to dream it, to claim it for their own nuance? Does the violinist play Schubert thinking that it is enough just to get the notes right? Ballet is not just a gymnastic drill - it is a wildly esoteric performance art that surely no one seriously wants to pursue unless they feel its Read more ...
David Nice
No longer, it seems, need ballet's most transformable heroine languish by the seasonal fireside. It's true that you'll have to wait until Christmas to see the most visually striking Cinderella of all again - Ashley Page's fitfully ingenious Scottish Ballet version showcasing magical designs by Antony McDonald. But English National Ballet's Cinders is out and about this spring, and now Ashton's first full-length triumph returns with period glitter to Covent Garden. If in places it still feels like a winter panto - those drag sisters are maybe getting past their sell-by date - a ballerina of Read more ...
Ismene Brown
In 1988 young contemporary choreographer Mark Morris, newly installed in Brussels’ munificent Théâtre de la Monnaie as resident dancemaker to succeed the Emperor of Big, Maurice Béjart, thought not just big but grandly off-beam. Instead of Béjart’s slickly sexy, stripped-down divinities of modern ballet, Morris gave the audience chubby, barefoot, all-sorts dancers naively skipping and slapping each others’ bottoms; instead of mass-market arena confections to starry rock, he chose to work with John Milton’s archaic poetry and George Frederick Handel’s filigree proprieties; instead of artful Read more ...
Ismene Brown
“It’ll be tricky to write about,” said the man next to me last night, a Cubaphile. “It's the good, the bad and the awful.” The Cubans’ second programme, The Magic of Dance, is an old-fashioned warhorse of showstoppers from the classics, a tapas bar of Giselle, Sleeping Beauty, Nutcracker, Coppelia, Don Quixote, Swan Lake and Gottschalk Symphony. Come again, the last one? It’s a company conga by Alicia Alonso. Enough said.The awful we know about - epitomised by last week’s Swan Lake, the bodging of text and exigencies of decor, permissible to put down to accidents of history and economics. Read more ...