contemporary dance
Hanna Weibye
Your first thought on hearing there's a new Matthew Bourne Romeo and Juliet might well be 'doesn't it exist already?' So obvious does this marriage of high drama, lush iconic score, and Britain's premier dance maker seem that you might well be forgiven for assuming it had happened years ago. In fact, the show Bourne presented at Sadler's Wells this week is brand new this year. So is it a worthy addition to the choreographer's stable of reimagined ballets? Up to a point. It won't knock the immortal male swans off the top spot, but it's still a hell of a night at the theatre.The familiar Read more ...
Katie Colombus
The thing about Wilderness is that it’s just so jolly decent. Acres of decadence, sprawled safely over the yawning magnificence of Cornbury Park, Oxfordshire, combine to create a scintillating country fair reverie – a heady mix of good music, high end food, luxury outdoorsyness and companionable folk.Yes, their fashion choices might be bold, but there is no one here who isn’t game for a laugh, or on hand to help out a neighbour. Plus you’re far more likely to be worried about their judgement of how fine your wine is than whether or not they’ve nicked your camping cooker.Revellers have Read more ...
Jenny Gilbert
Visits from major foreign ballet companies are always news, but a two-week London season by one of America’s “big three” is something to get excited about. San Francisco Ballet doesn’t rest on its laurels. Eight of the 12 pieces offered in the coming Sadler's Wells season were premiered by the company only last year. Helgi Tomasson, its long-serving artistic director, tells theartsdesk what it means to keep pushing the boundaries.JENNY GILBERT: You’ve been at the helm of this company for an astonishing 34 years. That gives you a long view of the art form that’s almost unique.HELGI TOMASSON: Read more ...
Katie Colombus
Maya Angelou’s iconic poem Still I Rise is a good starting point for many things in life. But it’s a particularly good beginning for a piece of contemporary dance choreography, and Victoria Fox has done a great job of bringing the poet’s words to life.It’s a rigidly structured one hour work – definite sections of movement working to a contained pace and spacing, split up by sections of music ranging from intense strings and solo opera voice to upbeat club music.An all female cast dance in formation, side by side, performing detailed intricate, intimate gestures – moving from the softer, Read more ...
Thomas H. Green
Shows by Gravity & Other Myths fall into the realm of “contemporary circus”. It’s an off-putting moniker, bringing to mind a performance where there’s no clowning but quite possibly much “thought-provoking” interpretive dance. The decade-old troupe from Adelaide, Australia, appearing tonight in Brighton’s Dome Theatre, deliver a show that is certainly contemporary circus, but they reinvent the term in in a riveting, entertaining way.Proceedings begin with the house lights coming up to reveal the stage cluttered by a rack of clothes, a line of steel buckets, a suit of armour and more. It’s Read more ...
Thomas H. Green
The Nature of Why is not so much a concert as a multi-discipline happening. To assess it is to relate a human experience rather than just an aesthetic appreciation of the new orchestral work by Goldfrapp’s Will Gregory which is at its heart. On the surface, it’s an hour-long piece in nine short movements, interspersed with old BBC recordings of the Nobel Prize-winning American physicist Richard Feynman explaining how magnetism is unexplainable in layman’s terms. As a participant, however, there’s much more to it than that.The event takes place at the Brighton Dome’s main concert hall and the Read more ...
Thomas H. Green
The Brighton Festival begins in May. Since 2014 theartsdesk has had a media partnership with this lively, multi-faceted event which takes place over three weeks. This year the Guest Director is the Malian musician Rokia Traoré, who inhabits a position previously filled by cultural figures such as Brian Eno, David Shrigley, Kate Tempest, Anish Kapoor and Vanessa Redgrave.Overseeing the whole event every year since 2008, however, is Brighton Festival CEO Andrew Comben. A singer and horn player in a previous life, the 45-year-old Comben is now a full-time driving force within the festival Read more ...
Sarah Kent
It's a decade since Pina Bausch sadly died, and during that time her company has kept her memory alive by revisiting her amazingly rich legacy. Inevitably, though, the time would come for them to embark on a new phase; but how? The unique mix of dance and visual theatre that Bausch developed with them over 36 astoundingly creative years is so distinctive that any attempt to follow in her footsteps would most likely seem like a pastiche. In 2015 the company finally took the plunge and invited two choreographers to create new pieces for them. After premiering in Wuppertal last year Read more ...
Thomas H. Green
The striking cover for the Brighton Festival 2019 programme shouts out loud who this year’s Guest Director is. Silhouetted in flowers, in stunning artwork by Simon Prades, is the unmistakeable profile of Malian musician Rokia Traoré. Taking place between 4th and 26th May at a host of south coast venues, this year’s Festival, which launched its schedule of events this morning, looks to be a multi-faceted extravaganza with true international reach. Once again, theartsdesk is proud to be a media partner.“I set out to bring new voices to the city to tell their stories,” Traoré explained, “ Read more ...
Katie Colombus
Theatre for children can often be dismissed – a box to tick for parents who want to keep up with cultural practices; a job for actors who haven't quite made it in the mainstream; theatre that mums and dads want to see that works for their little ones, too.It's actually quite rare to find theatre that works purely for children – something that excites, inspires and invigorates on their level without worrying too much about the olds. But at bOing! International Family Festival, contemporary dance, conceptual theatre, live art installations, classical and modern music, film and storytelling Read more ...
Katie Colombus
There is a sense of loyalty from the Brighton audience awaiting Hofesh Shechter’s new work. They have seen his company here in 2009, for the Brighton Festival commission of The Art of Not Looking Back, and the infamous Political Mother premiered here for the Festival in 2010.There was a feeling that people were waiting to be wowed – and they were not disappointed. The piece opens with a person being shot against a dark wall, which then divides into two. Immediately my thoughts are drawn to the divisive Israel/Palestinian conflict, a theme which the Israeli-born choreographer has dabbled in Read more ...
Sarah Kent
Sometimes you come across an artwork that changes the way you see the world. Tacita Dean’s film portrait of the American choreographer Merce Cunningham (main picture) is one such encounter. Occupying a whole room at the National Portrait Gallery, the installation consists of six screens each showing Cunningham sitting in his dance studio, listening. In some shots he is alone, in others Trevor Carlson, the executive director of his company, stands holding a stopwatch and counting down the final seconds of each session to signal that Cunningham can relax and shift his position. What is Read more ...