fri 22/06/2018

dance

Carlos Acosta: A Classical Farewell, Birmingham Hippodrome

Hanna Weibye

Appearing before theatres full of middle-aged women in just your underpants is certainly one way to throw a retirement party. It may not be everybody's choice, but then Carlos Acosta is not like everybody, and never has been.

Read more...

Frankenstein, Royal Ballet

Hanna Weibye

Another year, another new full-length story ballet from one of the Royal Ballet's in-house choreographers.

Read more...

BalletBoyz, Life, Sadler's Wells

Hanna Weibye

Hearing that both Javier de Frutos and rabbit heads appear in the new BalletBoyz bill might give you pause. A choreographer so unafraid of graphic content that he started his career with naked one-man shows, and later made a piece about the Pope so sexually explicit and offensive that he got death threats – do the rabbit heads mean we're in for some kind of furvert orgy?

Read more...

Mariinsky Ballet: Concerto DSCH, Sacre, Wales Millennium Centre

Nadine Meisner

On Thursday the Mariinsky Ballet and Orchestra swooped into Cardiff for the ballet company’s only UK dates this year. Appearing at the Wales Millennium Centre for just four ballet performances, plus a family concert of Peter and the Wolf, the Mariinsky’s arrival does seem an extravagant indulgence by its backers, especially with the decision to show exclusively contemporary, Western-style, ballet programmes.

Read more...

She Said, English National Ballet, Sadler's Wells

Jenny Gilbert

Why are there so few female choreographers? Tamara Rojo, bugged by the fact that in 20 years on the ballet stage she had never danced anything choreographed by a woman, has stopped wondering and started doing something about it.

Read more...

The Winter's Tale, Royal Ballet

David Nice

It was twelfth night for Christopher Wheeldon's two-year-old, three-act Shakespearean ballet, and this newcomer had one nervous anticipatory question.

Read more...

theartsdesk in Berlin: Three Ballets

Hanna Weibye

In London, seeing the same ballet company do three different pieces in three different theatres over four nights would be some kind of festival. In Berlin, it's just business as usual – albeit quite a busy week! – for the hard-working Staatsballett.

Read more...

Kaash, Akram Khan Company, Sadler's Wells

Hanna Weibye

This new run of Kaash is an interesting test case for Akram Khan Company as its eponymous founder approaches his retirement from stage performance (forecast for next year). Kaash was Khan's first full-length work, created in 2002 and widely acclaimed at the time. But can Khan's older work stand up after 14 years in which Khan has consistently supplied the British dance scene with some of its most riveting shows (DESH, Gnosis, Sacred Monsters)?

Read more...

Giselle, Royal Ballet

Hanna Weibye

One of the secrets to enjoying life is mastering the creative use of disappointment. Many in the Covent Garden audience last night were no doubt deeply disappointed not to be seeing Natalia Osipova's legendary portrayal of the title role in Giselle, injury having removed the Russian superstar from the opening night cast.

Read more...

Voces, Ballet Flamenco Sara Baras, Sadler's Wells

Hanna Weibye

Claims to embody the spirit of flamenco, or to be born with flamenco in one's blood, abound in the programme of the annual Sadler's Wells flamenco festival. Sara Baras, whose show Voces opened the two week festival on Tuesday, doesn't make such a claim in writing: she doesn't need to.

Read more...

Pages

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £3.95 per month or £30 per year. We feel it's a very good deal, and hope you do too.

To take an annual subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

latest in today

theartsdesk at Glastonbury Festival 2018

Daft Punk! Kendrick Lamar! The Kinks! Yes! We blew the lid off!

What? No! There IS no...

The Town Hall Affair, The Wooster Group, Barbican review - e...

Iconoclasm, orgasms, and rampant rhetoric are all on irrepressible display in...

The Path to Heaven, RNCM, Manchester review - tragedy, truth...

Adam Gorb’s The Path to Heaven, with libretto by Ben Kaye, is his longest work to date (almost two hours’ running time without interval)...

Finishing the Picture, Finborough Theatre review - projectio...

In the early 20th century, Soviet filmmaker Lev Kuleshov spliced together images of people looking at things with a bowl of soup, a woman on a...

DVD/Blu-ray: Let the Sunshine In

Un beau soleil intérieur, the film’s ...

Kiss Me, Kate, Opera North, London Coliseum review - Cole Po...

First palpable hit of the evening: a full orchestra in the pit under hyper-alert...

theartsdesk on Vinyl 40: Talking Heads, Ornette Coleman, Cra...

Earlier this year, in May, Brighton hosted the Vinyl World Congress where Paul Pacifico, head of the Association of Independent Music, told the...

In The Fade review - twisty German courtroom drama

The Cannes jury in 2017 gave best actress to Diane Kruger for her performance in In the Fade. She plays Katja, who turns avenging angel...

David Byrne, Eventim Apollo review - twice in a lifetime?

Forgive the sports metaphor, but David Byrne knocked this one out of the park. Coming out of the concert at the...

The London Mastaba, Serpentine Galleries review - good news...

It’s not as immersive as New York’s The Gates, 2005, nor as magnificent as Floating Piers, 2016, in Italy’s Lake Iseo...