contemporary dance
Jenny Gilbert
As the new season opens, confidence is high at ENB, just as it should be given the roaring success of recent programmes featuring the latest work of iconoclast William Forsythe. His classical steps set to disco raised the roof.The company’s current mixed bill, R:Evolution, also contains some Forsythe, but within a more sober, even academic frame, the idea being to track the evolution of ballet across eight decades: from George Balanchine and Martha Graham – two distinct voices of the 1940s – to a Forsythe classic from 1992, to a grandly conceived new work from internationalist David Dawson. Read more ...
Helen Hawkins
If you have never watched a single episode of the BBC period gangster drama Peaky Blinders, I am not sure what you would make of Rambert’s two-act ballet version. I have watched all six series, and I still left confused. Confused, but also impressed by the five-star standard of the dancing, by the inventive stage pictures created by designer Moi Tran and by the three onstage musicians. Led by lead guitarist/vocalist Mitchel Emms, this trio blast out a score specially written for the piece by Roman GianArthur, alongside tracks featured on the TV show by Radiohead, Frank Carter and the Read more ...
Helen Hawkins
The red, white and blue bull’s-eye on the front curtain at Sadler’s Wells tells us we are in the familiar territory of Pete Townshend’s rock musical about teenage angst in 1960s Britain. What follows isn’t so easy to recognise.Quadrophenia started life in 1973 as a double album, and six years later became a film; now it’s a contemporary dance piece with an outstanding cast. Yet it seems to be a case of diminishing returns.The powerful vocals of its songs are silenced, with just a heavenly choir in the closing numbers representing a human presence. And the thrilling axeman chords Read more ...
Florence Roberts
Imagine: you take your seat at the best restaurant in town, the waiter arrives with a flourish to fill your water glass, you hold it out and he pours. And pours, and pours, and pours and pours. The water spills over the rim and splashes into your lap, down your front, over your head. You are left stunned and sopping wet. It is the most exhilarating evening of your life.This is just one provocation among the myriad short études that make up Vollmond, a late work by Pina Bausch and the latest revival from the company now calling itself Tanztheater Wuppertal Pina Bausch + Terrain Read more ...
Jenny Gilbert
In an ideal world an end-of-year roundup would applaud only new ventures – fresh productions that you may curse for having missed but whose success would almost certainly ensure a second run.The past 12 months in dance has offered few of these. Instead, it was a year of fine revivals. At a time of tightened belts, tightened as never before, it made sense to programme the tried and tested. There were some novelties, of course, but it was the best of the seen-befores that made the bigger splash.The Royal Ballet, flush with its new status as the dominant company at Covent Garden after 80 years Read more ...
Helen Hawkins
How do you refresh a masterpiece? Bringing back his first and still greatest hit, Swan Lake, Matthew Bourne seems to have changed only minor details since its 1995 premiere at Sadler’s Wells. Its core brilliance is untouched.As usual with Bourne, the production will have been adjusted slightly with each iteration, but it’s possible to compare the 30th anniversary version with the 1995 one, of which handily there is a DVD. The accumulated tweaks are minor. The giant crown hanging in the Prince’s rooms is now a vibrant scarlet, as is the Queen’s ballgown, popping out of her otherwise black Read more ...
Helen Hawkins
Valiant souls who have recently read the Margaret Atwood trilogy on which this new Wayne McGregor piece for the Royal Ballet is based will be at home with its time-shifting eco-sci-fi narrative. The rest of us, not so much.The appeal of the basic plot is clear: how big pharma coped with a devastating pandemic that has wreaked havoc on an increasingly plundered Earth. (NB the novels appeared between 2003 and 2013, long before the pandemic; and McGregor’s first planning, collaborating with the National Ballet of Canada, to create a piece on them, began in 2017.) Restocking the world with Read more ...
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.Or Forevermore is Tanowitz at her most larky. In its 30-minute span, it takes many of the conventional pieties of ballet and amusingly but firmly disrupts them. We start outside the ROH’s majestic red curtains, where a spotlight picks out a dancer (O’Sullivan on opening night) in a plush garnet-red tracksuit. A sultry sax and bluesy strings accompany her as she Read more ...
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.The premise of Prince’s show, at first, seems bleak: the familiar characters (the Mad Hatter, March Hare, White Rabbit et al) are inmates of an asylum, ruled by a blinkered and cruel Read more ...
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.Typically, Ballet Nights’ sixth iteration was a one-off, but it was also a sell-out, at its largest venue yet, the 950-seat Cadogan Hall, home of the Royal Philharmonic. The hall has its own Steinway concert grand, which must have been a major draw for Ballet Nights founder, artistic director and MC Read more ...
Jenny Gilbert
The story of Carmen is catnip to choreographers. No matter how many times this 180-year-old narrative has been tweaked and reframed in art, theatre, opera, dance and film, they keep coming back for more – which is curious when you consider that Carmen began life in a saucy French novella read in smoking rooms and gentlemen’s clubs.If it was fear of low-life women and racial contamination that made her provocative in the late 19th century, that hardly explains the persistence of Carmen into the 21st, nor the fact that two different full-evening dance versions are being presented at Sadler’s Read more ...
Jenny Gilbert
Dance lovers have had a better time of it this year as the performance sector starts to find its feet again. In the wake of a general cull of independent dance companies, 2023 has seen signs of fresh growth.Lively enterprises have sprouted in unlikely places – a pop-up jazz club at the back of the Royal Festival Hall (Drew McOnie’s Nutcracker), a community hall wedged between Canary Wharf high-rises (Ballet Nights). There have been dance adaptations of texts ancient and modern: Pam Tanowitz’s gorgeous Song of Songs at the Barbican, on the one hand; on the other, The Limit, a kinetic take on a Read more ...