dance

Batsheva Ensemble, Sadler's Wells

james Woodall Tuesday, 20 November 2012

Batsheva Dance Company is reaching its half-century, which makes it, as one of the world’s leading dance brands, not quite as old – or as young – as Israel, but Martha Graham helped launch it several years before the 1967 Six Day War. An international mix, it is in fact two companies, the senior one and the Ensemble, currently touring Britain and made up of youngsters who might or might not graduate to the main, Tel Aviv-based troupe.

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Concerto/ Las Hermanas/ Requiem, The Royal Ballet

Ismene Brown Monday, 19 November 2012

With a reputation as the prince of unflinching emotional catharsis, Kenneth MacMillan emerged from the Royal Ballet’s triple bill marking the 20th anniversary of his death as a lord of lyricism. The new bill presents MacMillan three ways, his academic instincts, intellectual imagination and emotional vision - a bold versatility you (whisper it) almost never see from today's choreographers.

FAR, Wayne McGregor / Random Dance, Linbury Theatre, Royal Opera House

Sarah Kent Saturday, 17 November 2012

Make no mistake; this is dancing of the highest order. The classically trained members of Wayne McGregor's company Random Dance demonstrate such exceptional mastery of technique that their movements should have one drooling in admiration.

Jasmin Vardimon Company, FREEDOM, Sadler's Wells

Matthew Paluch Tuesday, 13 November 2012

The Jasmin Vardimon Company bring their latest creation, FREEDOM, to Sadler’s Wells this week for two nights only. The work is best described as a collection of vignettes (supposedly) discussing the subject of freedom, and any conflicting conditions. The programme literature confirms that Vardimon is assessing “political systems, social conditions and personal philosophies” within the piece – which is seriously fighting talk that wasn’t necessarily backed up.

Cesena, Anne Teresa De Keersmaeker’s Rosas, Sadler’s Wells

Judith Flanders Friday, 09 November 2012

Well, if De Keersmaeker made us work hard for our enlightenment earlier in the week, we more than get our reward with her triumphant, astonishing Cesena in the second part of her double-programme designed for the Avignon Festival.

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En Atendant, Anne Teresa De Keersmaeker’s Rosas, Sadler’s Wells

Judith Flanders Tuesday, 06 November 2012

No one ever accused of Anne Teresa De Keersmaeker of thinking small. Or not thinking, for that matter. Her international career began with a bang, when with only her second work she created Fase, Four Movements to the Music of Steve Reich. And Reich’s music, filled with repetitive figures, harmonic rhythm and canons, is not a million miles – even if it’s 600 years – away from the ars subtilior of Avignon, De Keersmaeker’s new musical focus.

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Viscera/Infra/Fool's Paradise, Royal Ballet

Judith Flanders Sunday, 04 November 2012

A new Liam Scarlett ballet has become an event, even as, in this case, Scarlett’s home company, the Royal Ballet, is recreating a work he choreographed last January for Miami City Ballet – the young choreographer’s first international commission.

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Russell Maliphant, The Rodin Project, Sadler’s Wells

Sarah Kent Tuesday, 30 October 2012

Imagine that Rodin’s Thinker gets bored with sitting, head-on-hand, contemplating the folly of humankind and, springing to life, descends from his lofty perch above The Gates of Hell. Having been immobile for a century or more, he is extremely stiff and needs to limber up: cue for some first-rate body popping interspersed with the kind of heroic poses usually reserved for life drawing classes.

Birmingham Royal Ballet, The Grand Tour/ Faster/ The Dream, Sadler's Wells

Matthew Paluch Saturday, 27 October 2012

Birmingham Royal Ballet’s second triple bill at Sadler’s Wells this week is aptly titled "Autumn Celebration", acknowledging the season’s diverse weather through eclectic, light-hearted programming.

Jonzi D, Lyrikal Fearta Redux, Lilian Baylis Studio

Matthew Paluch Sunday, 21 October 2012

Jonzi D has been integral in defining British hip hop since it first filtered over from the States in the early 1980s – and has further managed to keep his finger firmly on the pulse. His two-week residency in Sadler’s Wells Theatre’s studio sees him returning to his own work, rather than his higher-profile role curating the annual Sadler’s Wells Breakin’ Convention festival for streetdance.