mon 11/11/2024

dance

Pina Bausch’s The Rite of Spring/common ground[s], Sadler’s Wells review - raw and devastating

Jenny Gilbert

It takes a lot to make an audience not want to head to the bar at the interval. But the preparation of the stage floor for The Rite of Spring in the version by Pina Bausch is a piece of theatre in itself, and many at Sadler’s Wells couldn’t tear themselves away.

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Legacy, Linbury Theatre review - an exceptional display of black dance prowess

Jenny Gilbert

In the foyer of the Linbury Theatre is an exhibition which gives a very upbeat account of the presence of black dancers in British ballet. Photographs dating back to the 1950s, 60s and 70s show practitioners of extraordinary physicality and verve, with wide, confident smiles.

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Encounters, Royal Ballet review - exciting mixed bill with a gem of a premiere

Helen Hawkins

In 2022, the American choreographer Pam Tanowitz made a duet on Royal Ballet principals William Bracewell and Anna Rose O’Sullivan, which they performed at the company’s Diamond Celebration. That piece has now evolved into a true gem.

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National Ballet of Canada, Sadler's Wells review - see this, and know what dance can do

Jenny Gilbert

What to expect of the National Ballet of Canada since its last London visit 11 years ago? Dance with an eco-message, a world-peace message, or more visible diversity on stage?

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Nobodaddy, Teaċ Daṁsa, Dublin Theatre Festival review - supernatural song and dance odyssey

David Nice

Nobodaddy, taking its title from Blake’s violent dark-god “Father of Jealousy”, is much more than a dance piece, and Michael Keegan-Dolan, whose company was formerly known as Fabulous Beast, is more than just a choreographer, with unique takes on the total work of art already to his credit.

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Alice's Adventures in Wonderland, Royal Ballet review - big, bold and ultimately brash

Jenny Gilbert

In many ways Lewis Carroll’s 1865 compendium of literary nonsense is ideal material for ballet. We all like a story we can hum, even if we’re hazy on the details. And this story, with its topsy-turvy logic and anthropomorphic creatures, is stuffed with quirky detail, much of it surely never intended to go anywhere but over the heads of its original child readers.

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Resurgence, London City Ballet, Sadler’s Wells review - the phoenix rises yet again

Jenny Gilbert

You need to be fairly long in the tooth to feel nostalgia for the heyday of London City Ballet. The group was set up in 1978 by the late Harold King to tour a large and varied classical repertoire at home and abroad. Princess Diana, its patron, befriended the company, supporting its work both publicly and privately.

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The Mad Hatter's Tea Party, ZooNation, Linbury Theatre review - a joyous celebration of differentness

Jenny Gilbert

The Mad Hatter gets it about right when he tells Alice: “You’re entirely bonkers… but all the best people are.” Kate Prince takes this line and runs with it in her riotous but surprisingly sweet and often moving hip hop take on Lewis Carroll’s 1865 book, a production now enjoying a 10th anniversary revival, coinciding with a revival of Christopher Wheeldon’s three-act Alice ballet in the Covent Garden main house.

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Ballet Nights #006, Cadogan Hall review - a mixed bag of excellence

Jenny Gilbert

It’s exactly a year since Ballet Nights, the self-styled taster platform for dance, started offering chirpily compered evenings of ballet and contemporary at venues where you'd least expect to find them. A first anniversary is already an achievement; to have arrived there bigger and better more so.

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Ashton Celebrated, Royal Ballet review - peerless delights from the master step-smith

Jenny Gilbert

Launching a four-year global project to proclaim the genius of Frederick Ashton might seem unnecessary. His work is the bedrock of what’s widely known as The English Style and rarely absent from any British ballet season, whether at the Royal Ballet (for whom he created much of it), or elsewhere.

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