mon 16/12/2019

choreographers

Shostakovich Trilogy, San Francisco Ballet, Sadler's Wells review - less than the sum of its parts

Alexei Ratmansky stands out among contemporary choreographers for two reasons: he still creates genuinely classical dance, and he's more conscious than most that art is dependant on the society it's created in. His Shostakovich Trilogy, which...

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10 Questions for Musician Will Gregory

Will Gregory (b.1959) is best known as one half of the alt-pop duo Goldfrapp but has a long career in music that dips into many areas. Throughout the 1980s and 1990s he was a working musician who toured with multiple bands, notably, Tears for Fears...

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Victoria, Northern Ballet, Sadler's Wells - A queen re-instated, once again

Given that the life of Queen Victoria spanned the best part of a century, the first task for any biographer is to hack a path through the mountain of facts. It ought to help that the queen was a prolific diarist. Too bad for choreographer Cathy...

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Suspiria review - kindly, slow-motion grand guignol

The first Suspiria was a sensation, and spectacularly, monomaniacally new. Its young heroine Susie Bannon’s ride from an innately hostile airport through eldritch woods in which a panicked girl ran from her destination, the Markos Academy of Dance,...

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Company, Gielgud Theatre review - here's to a sensational musical rebirth

The most thrilling revivals interrogate a classic work, while revealing its fundamental soul anew. Marianne Elliott’s female-led, 21st-century take on George Furth and Stephen Sondheim’s 1970 musical comedy Company makes a bold,...

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Hofesh Shechter Company: Grand Finale, Brighton Festival review - politics, percussion and powerful choreography

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...

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Ballet's Dark Knight - Sir Kenneth MacMillan, BBC Four review – hagiography and home videos

If you came to this programme knowing nothing about the choreographer Kenneth MacMillan, you may have learned a few things. That he died, tragically and rather dramatically, of a massive heart attack during a first night performance of one his own...

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Obsidian Tear / Marguerite and Armand / Elite Syncopations, Royal Opera House review - an evening of high-performance mismatch

One day someone will come up with an algorithm for the perfectly balanced triple bill. Until then ballet directors will have to make do with hit or miss. The Royal Ballet’s latest three-part offering would appear to tick the boxes: something old,...

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Richard Alston, Mid Century Modern, Sadler's Wells review - a master choreographer clocks up 50 years

It took Richard Alston 10 years to start making dances to music. Until the late Seventies he preferred silence, or a Rolodex of scores that he swapped and switched. In this you might say he was a typical product of the time. The fact is more...

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Best of 2017: Dance

With forelock-tugging celebrations of a choreographer who died 25 years ago and a summer visit by the Mariinsky the highest-profile events in the calendar, 2017 may not be remembered as a vintage year for British dance. But there were striking...

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Kenneth MacMillan: A National Celebration, Programmes 2 & 3, Royal Opera House review - abhorrent to sublime

The choreographer Kenneth MacMillan was a man of many modes and moods, and it’s tempting to wonder how many more he might have revealed had he not been felled by a heart attack at the age of 62. Two retrospective programmes staged this week –...

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Michael Clark Company, Barbican Theatre review - bad boy of dance comes good

If there were an arts award for loyalty, the Barbican Theatre would surely win it for having kept faith with Michael Clark. It’s no secret that the bad-boy image that has clung to Clark since his punk extravaganzas in the 1980s had consequences in...

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