wed 27/10/2021

contemporary ballet

The Dante Project, Royal Ballet review - a towering achievement

Unless you happen to be a student of Italian language or culture, the significance of the 14th-century poet Dante Alighieri’s insights into the human condition may have passed you by, albeit that this year marks 700 years since his death. Where...

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Creature, English National Ballet, Sadler's Wells review - bombastic and unreadable

If a new ballet can be doomed by the weight of expectation, then Creature didn’t stand a chance. First scheduled to appear in the spring of 2020, then again last autumn, the publicity drive over the past weeks has had the air of marketing a used car...

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Rumpelstiltskin, Sadler's Wells Digital Stage review - spins an engaging yarn for young audiences

The latest in Sadler’s Wells’ Digital Stage programme – an impressively assembled online offering to keep audiences entertained during the shutdown – is balletLORENT’s family-friendly dance-theatre production Rumpelstiltskin. It was...

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Carlos Acosta: A Celebration, Royal Albert Hall

Ballet superstar Carlos Acosta returned to the Royal Albert Hall this week, accompanied by the youthful dancers of his company Acosta Danza, for yet another show celebrating his long career. Photographer Bill Knight of theartsdesk captured...

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Elizabeth, Barbican review - royal romance under scrutiny

Everyone knows that Elizabeth I was a monarch of deep intelligence and sharp wit. Fewer know how good she was at the galliard. This was a virile, proud, demandingly athletic dance, usually performed by the men at courtly gatherings, and the fact...

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Voices of America, English National Ballet review - a punchy programme of contemporary ballet

A new William Forsythe ballet is quite a coup for English National Ballet; the choreographer hasn't made a piece in Britain in 20 years. Premiered last night as part of ENB's Voices of America triple bill at Sadler's Wells, Forsythe's Playlist (...

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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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Alice's Adventures in Wonderland, Royal Ballet review - a feast of visual delights

I can imagine Monica Mason, the artistic director who commissioned Christopher Wheeldon's 2011 Alice, feeling pretty pleased with herself as she looked around the Covent Garden auditorium last night at an audience buzzing with excitement for the...

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Contrasts, Mariinsky Ballet review - company shows off range of its powers

There are two approaches to a triple bill: make all three pieces similar so you get one crowd with definite tastes, or make them very different so you have a chance of pleasing everyone. The Contrasts bill that the Mariinsky ballet showed at the...

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Scottish Ballet, Sadler's Wells review - striking and memorable dance

Years ago, MC14/22 (Ceci est mon corps), the Angelin Preljoçaj piece with which this Scottish Ballet double bill opens, made a deep impression on Christopher Hampson. So deep that, once he became Artistic Director of Scottish, he actively sought it...

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Koen Kessels: 'there's a joke in ballet we only have two tempi' - interview

Koen Kessels is on a mission to change the culture around music in ballet. Anyone who has heard the Belgian conduct will know that he is the right person for the job: Kessels makes the classic scores come alive in the pit like nobody else I’ve heard...

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Symphonic Dances, Royal Ballet review - a truly interesting creation

Liam Scarlett must be worked off his feet. Just at the Royal Ballet, he made a full-length work, Frankenstein, last year and is currently working on a new Swan Lake; and now last night he has premiered a new abstract work, Symphonic Dances at the...

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