dance
Nur Du, Tanztheater Wuppertal Pina Bausch, Barbican TheatreMonday, 11 June 2012
Many people will be having their first taste of the late Pina Bausch’s dance-theatre in this copious London retrospective of 10 of her “World City” productions; others will have bought into several of the series, possibly by now wondering how many hours they can take of her barbed view of men and women. For all of us, reading programme notes is beside the point; the background you need is what’s inside you, your memories, your songs, your susceptibilities. Read more... |
Viktor, Tanztheater Wuppertal Pina Bausch, Sadler's WellsThursday, 07 June 2012
It stymies any tourist to sum up for others what they saw abroad. Still more challenging, to create (or recreate) for theatre as a choreographer something more than superficial, more than clichéd about Italy, Japan, Los Angeles, Istanbul, these most clichéd of cultures. Read more... |
The Prince of the Pagodas, The Royal BalletSunday, 03 June 2012
As Mrs Thatcher used to say, don’t bring me problems, bring me solutions. Solutions have been flung with a will at the problem ballet of Kenneth MacMillan’s last years, his orientalist fairytale The Prince of the Pagodas - the Royal Ballet’s retiring director Monica Mason revived it last night as one of her last presentations, determined that a new generation should have the chance to love it. Read more... |
Matthew Bourne's Early Adventures, Richmond TheatreSaturday, 02 June 2012
Matthew Bourne’s charm is a rare and cheering thing in the world of dance - a night out with three of his earliest works, Spitfire, Town & Country and The Infernal Galop, is akin to sitting down to watch Father Ted or Dad’s Army. It’s clever, often witty, always gay, and kind. Read more... |
Ballo della Regina/ La Sylphide, Royal BalletTuesday, 22 May 2012
Ballo della Regina is a strange piece, for many reasons. A piece of minor Balanchine, it was created late in life for a dancer he clearly admired but who was not core to his vision. Strangest of all, he used music by Verdi, a composer whose music he had only choreographed to in his very early days as a journeyman opera-house ballet-master, when he did not get to choose. Read more... |
Rambert: Sub/ The Art of Touch/ Nijinsky's Faune/ What Wild Ecstasy, Sadler's WellsThursday, 17 May 2012
The past is a hard card to play for a contemporary dance company, even harder than for a ballet company. A work that’s proved over time, whose quality emerges and re-emerges with revisiting, casts an imposing shadow over new works created in the ethos and fashions of the contemporary. Read more... |
Einstein on the Beach, Barbican TheatreSaturday, 05 May 2012
Einstein on the Beach was meant to be one of the jewels in the crown for the Cultural Olympiad. The celebrated 1970s collaboration between Philip Glass, Robert Wilson and Lucinda Childs - which Susan Sontag claimed to be one of the greatest theatrical experiences of the 20th century - was receiving its UK premiere at the Barbican Theatre last night, thirty-six years after it was first created. And what we got was a technical shambles. Read more... |
A Streetcar Named Desire, Scottish Ballet, Sadler's WellsMonday, 30 April 2012
Tennessee Williams’s A Streetcar Named Desire carries with it an enormous loading from its past, the associations with those iconic performers on stage and screen Marlon Brando and Vivien Leigh not the least of them. For a narrative dance, that hothouse close-up combat between the hapless Blanche Dubois and Stanley Kowalski, her sister’s boorish husband, needed a fresh revising and some bravely independent performing. Read more... |
Artifact, Royal Ballet of Flanders, Sadler's WellsFriday, 20 April 2012
William Forsythe's position as the most articulate, fascinating, provocative ballet choreographer of the past 25 years is demonstrated by the Royal Ballet of Flanders' brief visit to Sadler's Wells for three nights with his epic, maddening, engrossing creation, Artifact. Read more... |
Polyphonia/ Sweet Violets/ Carbon Life, Royal BalletFriday, 06 April 2012
All year we've had to wait for a world premiere, and two come along at once. Last night was built to make some noise about the three most impressive young names in Royal Ballet choreography, and that will be where the PR story ends, but not where the flat disappointment ends. For while Christopher Wheeldon is shown at his magnificent best in an early piece, both Liam Scarlett and Wayne McGregor's new creations are nowhere near the best that either has shown. Read more... |
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