fri 25/05/2018

Sadler's Wells

Formosa, Cloud Gate Dance Theatre of Taiwan, Sadler’s Wells review - perfect in every detail

Whatever you do in the next couple of days, be sure to grab a ticket for this wonderfully atmospheric production. A glorious fusion of athletic dance, creative visuals and intoxicating sound, the piece pays tribute to the island of Taiwan, named...

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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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Sutra, Sadler’s Wells review – a masterpiece 10 years on

Sutra is back, 10 years after its premier at Sadler’s Wells. This is, in fact, the fourth time it has returned to London and such is the amazing popularity of this beguiling show that, in the past decade, it has been performed more than 200 times in...

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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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Cinderella, Sadler's Wells review - Matthew Bourne puts Cinderella through the Blitz

Even if Matthew Bourne were never to choreograph another step, he could fill theatres in perpetuity by rotating old stock. Cinderella, made in 1997, was the follow-up to his break-out hit Swan Lake but, never quite happy with it, he reworked it in...

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Akram Khan's Giselle, Sadler's Wells review - the migrant crisis in a ballet thriller

Of the many good reasons for seeing Akram Khan’s 2016 remake of Giselle – his work is often a headline event, for one – the most compelling is the company performing it. English National Ballet used to be the poor relation of its plusher sister...

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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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Ghost Dances: Rambert, Sadler's Wells review - vital and joyfully precise dancing

There is a South American theme to Rambert’s latest triple bill, two new commissions made to chime with an oldie but goldie, the rhythms of Latin social dances linking all three.Ghost Dances is, I'm told, the most requested work in the company’s 90-...

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Betroffenheit, Crystal Pite & Jonathon Young, Sadler's Wells

Where does my voice come from? Whose is my body? It’s apt that these questions run deep through a work that was created jointly by an actor, Jonathon Young, and a choreographer, Crystal Pite. The faultlines between body, voice and person are...

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Matthew Bourne's Early Adventures, Sadler's Wells

Not every artist attains the kind of status that will allow their early works to be revived – or, when revived, greeted with commercial and critical success. This is something of a shame for those of us with a historical mindset who like seeing...

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Pina Bausch's Rite of Spring, English National Ballet, Sadler's Wells

Is English National Ballet's current predilection for acquiring European repertoire some kind of anti-Brexit statement, or just smart brand positioning? Last night's performance at Sadler's Wells, a sequel in all but name to the programme called...

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