dance
The Winter's Tale, Royal BalletFriday, 11 April 2014
Another week, another major British ballet company takes on a key cultural patrimony in a brand-new work. It might seem odd that the Royal Ballet’s new Winter’s Tale generates more critical reservations than English National Ballet’s take on the First World War, though the two evenings succeed and fail in almost equal measure. Read more... |
tauberbach, les ballets C de la B, Sadler's WellsThursday, 10 April 2014
Belgian Alain Platel makes the kind of dance theatre (like Pina Bausch, to whom he has an oft-remarked debt) for which both “dance” and “theatre” are very loose and inadequate umbrella terms. “Sets” are often jaw-dropping colonisations of stage space; there are no flats or drops painted to resemble other things, but huge quantities of actual stuff with which the dancers interact. Read more... |
Lest We Forget, English National Ballet, BarbicanThursday, 03 April 2014
Taken together, the memorial accoutrements of the First World War are probably this country's most highly developed, and widely experienced, discourse of public history. Through two-minute silences, poppies, public monuments, and near-univeral school exposure we still, four generations later, honour in the texture of our national public life the desperate need of the war generation not to forget the horror they had been through. Read more... |
The Prince of the Pagodas, Birmingham Royal Ballet, London ColiseumThursday, 27 March 2014
When three good choreographers can’t get a ballet right, there must be something wrong with either the story or the music. In the case of the Prince of the Pagodas (a Poirot mystery waiting to be written, that, but I digress), it’s hardly the music: Benjamin Britten’s gamelan-leavened, melodic score, his only for a ballet, is compelling. Read more... |
Border Tales, Protein Dance Company, The PlaceFriday, 14 March 2014
Luca Silvestrini paints his contentious look at multiculturalism in Britain in the brash primary colours of stereotyping, allowing little space on the canvas for the light and shade of personal insight. Read more... |
Trasmín/Gala Flamenca, Sadler's WellsWednesday, 12 March 2014
In Trasmín, the curtain rises on two bodies leaning apart, yet reaching back to face one other, each columnar figure a twisted into a perfect spiral line from knees to the tips of curved fingers. Their feet are concealed by the great fabric swathes (for which “frills” is much too flimsy a label) of their traditional bata de cola dresses: rising from those grey cascades they look like two rococo sculptures in a fountain. Read more... |
BBC Ballet SeasonMonday, 10 March 2014
There’s been reasonable diversity in the ballet shown on the BBC in recent years – from full-length broadcasts of Matthew Bourne’s Sleeping Beauty and The Red Shoes to the compelling 2011 fly-on-the-wall The Agony and the Ecstasy. That’s why it was something of a disappointment to find this week’s five-hour ballet season, which finished last night, pushing a rather blandly uniform story about Tchaikovsky, Darcey Bussell and Margot Fonteyn. Read more... |
La Pepa, Ballet Flamenco Sara Baras, Sadler's WellsSunday, 02 March 2014
“Goya!” I scribbled enthusiastically in the first moments of La Pepa. “Dos de Mayo! Read more... |
The Sleeping Beauty, Royal BalletSunday, 23 February 2014
Clement Crisp, veteran ballet critic, once expressed his appreciation for Ashton’s Scènes de Ballet by saying that “if one had to throw ballets off the back of a sleigh, this would be the last to go.” Charming though the train of thought was that this metaphorical situation provoked (an insomniac ballet critic could muse on it for several nights), it can’t accommodate The Sleeping Beauty, which is to other ballets like the QE2 to Crisp’s sleigh. Read more... |
Nine Songs, Cloud Gate Dance Theatre of Taiwan, Sadler’s WellsSaturday, 22 February 2014
In 2008, a disastrous fire gutted Cloud Gate’s rehearsal studio in Taipei destroying props, costumes and the company archive. Amazingly though, the masks worn by the deities in Nine Songs survived the blaze and Lin Hwai-min, founder of the award-winning company, was so moved by the miracle that he decided to re-stage this sumptuous work. Read more... |
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