tue 19/11/2019

dance

'I wrote a letter to Björk in Icelandic and it did the trick': Helgi Tomasson on an intervention that saved a ballet

Jenny Gilbert

Visits from major foreign ballet companies are always news, but a two-week London season by one of America’s “big three” is something to get excited about. San Francisco Ballet doesn’t rest on its laurels.

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'It’s more fun to dance in a tutu': Tory Dobrin of Les Ballets Trockadero de Monte Carlo

Jenny Gilbert

Forty years on from its beginnings as part of New York's gay lib movement, Les Ballets Trockadero de Monte Carlo is playing to a global, largely straight audience. As the company launches a major UK tour, starting this week at the Peacock Theatre in London, its director of 28 years analyses its longevity.

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Koen Kessels: 'there's a joke in ballet we only have two tempi' - interview

Hanna Weibye

Koen Kessels is on a mission to change the culture around music in ballet. Anyone who has heard the Belgian conduct will know that he is the right person for the job: Kessels makes the classic scores come alive in the pit like nobody else I’ve heard.

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Brighton Festival 2017: 12 Free Events

Thomas H Green

The Brighton Festival, which takes place every May, is renowned for its plethora of free events. The 2017 Festival is curated by Guest Director Kate Tempest, the poet, writer and performer, alongside Festival CEO Andrew Comben who’s been the event's overall manager since 2008 (also overseeing the Brighton Dome venues all year round). This year the Festival’s theme is “Everyday Epic”.

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10 Questions for Choreographer Charles Linehan

Thomas H Green

Charles Linehan is an acclaimed British choreographer, whose company has performed all over the world, from DanSpace New York to Brussels’ Kaai Theatre to the Venice Biennale. Born in Cyprus and raised in Kent, he studied at the Rambert School of Ballet and Contemporary Dance, prior to honing his craft as a dancer with various European companies.

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10 Questions for Choreographer Matthew Bourne

Hanna Weibye

Choreographers are not generally household names, but Matthew Bourne must come close. Not only does his company tour frequently and widely, with a Christmas run at Sadler’s Wells that many families regard as an essential fixture of their seasonal celebrations, his pieces have also been seen on Sky, on the BBC, and on film, most famously when his Swan Lake featured at the end of the 2000 movie Billy Elliot.

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An Open Book: Michael Hulls

ismene Brown

The occupation “lighting designer” is too workaday to describe Michael Hulls. The artistry with which he casts illumination or shadow on some of the great dancers of our time make the idea of switches and bulb wattage seem humdrum. Pellucid, occluded, darkling - this is Hulls’ palette of twilight effects. Too often, he says, people do not understand the difference between seeing the dancer and seeing the dance.

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theartsdesk Q&A: Choreographer Stephen Mear

Marianka Swain

From Singin’ in the Rain and Anything Goes to Hello, Dolly! and Mary Poppins, Olivier Award winner Stephen Mear has done more than any other British choreographer to usher classic musicals into the modern era. But adept as he is at razzle-dazzling ’em, there’s more to Mear, as recent excursions like City of Angels at Donmar Warehouse and Die Fledermaus for the Metropolitan Opera prove.

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theartsdesk Q&A: Choreographer Akram Khan

Hanna Weibye

Akram Khan is unexpectedly softly-spoken.

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theartsdesk Q&A: Choreographer Wayne McGregor

Hanna Weibye

How do you know Wayne McGregor? Dance-goers with long memories might remember Wayne McGregor as the wunderkind who founded his own company and became resident choreographer at The Place aged just 22.

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