dance
Nelken: A Piece by Pina Bausch, Sadler's Wells review - welcome return for an indelible classicThursday, 15 February 2024
Perhaps the most memorable of the stage designs Peter Pabst created for Pina Bausch is back in London after nearly 20 years: a sea of erect pink silk carnations, the Nelken of the title. It’s canonical that there are 8,000 of them, but only the backstage team know the truth of that. Read more... |
Dark With Excessive Bright, Royal Ballet review - a close encounter with dancers stripped bareWednesday, 14 February 2024
The word “immersive” is overused. When an immersive experience can be anything from a foreign language course to a trip down the Amazon on a headset, what might immersive dance involve? Not watching from a plush-covered seat, probably, and the dance not happening on a stage. Read more... |
La Strada, Sadler's Wells review - a long and bumpy roadThursday, 01 February 2024
Federico Fellini’s 1954 classic La Strada ought to be a gift to a choreographer. The film has pathos, good and evil, a bewitchingly gamine heroine, and incidental music by the great Nino Rota, a composer who can find melancholy in the music of carnival and joy in a tragic trumpet solo – a composer who makes you think “Italy” in every phrase. Read more... |
Manon, Royal Ballet review - a glorious half-century revival of a modern classicTuesday, 23 January 2024
It’s 50 years since the first, damning reviews of Kenneth MacMillan’s ballet Manon declared it to be too long and lumbered with terrible music. One of them also said that the title role was an appalling waste of the ballerina who, in the title role, was reduced to “a nasty little diamond-digger”. Read more... |
Giselle, English National Ballet, Coliseum review - if you go down to the woods today, beware of the WilisTuesday, 16 January 2024
We’re used to the idea of 19th century ballets being updated, but the Giselle currently presented by English National Ballet takes it the other way. Read more... |
Best of 2023: DanceTuesday, 02 January 2024
Dance lovers have had a better time of it this year as the performance sector starts to find its feet again. In the wake of a general cull of independent dance companies, 2023 has seen signs of fresh growth. Read more... |
Edward Scissorhands, Sadler's Wells review - a true Christmas treat, witty and beguilingTuesday, 19 December 2023
The story of Edward Scissorhands may not seem an obvious Christmas subject, but it couldn’t be a more overt call for goodwill to all men. And there’s a hint of The Nutcracker about Matthew Bourne’s dance version, too. Read more... |
Nutcracker, Tuff Nutt Jazz Club, Royal Festival Hall review - a fresh, compelling, adult take on a festive favouriteWednesday, 13 December 2023
Intimacy isn’t everything, but there’s nothing like seeing dance live and up close. A good seat in a large theatre will give you the whole stage picture but lose the detail. Lost too will be that quasi-visceral connection with the movement. Read more... |
The Dante Project, Royal Ballet review - brave but flawed take on the Divine Comedy returnsMonday, 27 November 2023
Singular in its variousness, this is a three-act ballet that need some unpicking. No wonder those hooked on first acquaintance in 2021, like theartsdesk’s dance critic Jenny Gilbert, have been back to see it more than once. Read more... |
The Limit, Linbury Theatre review - a dance-theatre romcom that lacks both rom and comTuesday, 31 October 2023
Imagine a world in which speech has a daily legal limit. Not a limit on what you say, but how many words it takes to say it. Now imagine how such a scenario might work as dance. Read more... |
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