Performances are outstanding. Edward Watson, as paranoid Leontes, journeys from domestic bliss to ravaged desolation with utter conviction. Lauren Cuthbertson, as Hermione, brings great dignity to a virtuous wife wronged by a mad husband.
Christopher Wheeldon’s new three-act version of Shakespeare’s The Winter’s Tale is a triumph. It is contemporary and classical, traditional and modern, narrative and abstract. It feels like something entirely new.
Zenaida Yanowsky is an outstanding Paulina, both mother figure and divine oracle, and the moment where she recognises Perdita as Hermione’s lost baby is the most moving of the ballet.
The American dancer and actor Marc Platt has died in California at the age of 100. One of the first Americans to dance with Léonide Massine’s Ballets Russes, Platt was acclaimed for his roles in the Broad… Continue Reading
Maillot’s high-energy, space-consuming choreography is well versed in the language of classical ballet, engaging fluently with the music and accentuating the length and suppleness of the dancers’ elegant forms. Yet the choreography is also happy to explode into the…
Most impressive is Kaylee Marko, who performs Swanilda with an exquisite elegance and lyricism. Even during some rather wobbly partnering (understandable bearing in mind the ballet’s complex choreography), she maintained a supreme confidence and poise.
It’s Swan Lake, Jim, but not as we know it. The splintered narrative means we have to content ourselves with snatching shards of understanding from the activity on stage. And what activity! I have rarely seen a company with a greater degree of collective attack.
It’s an unalloyed pleasure to see two of the company’s most acclaimed actors in important roles, Bennet Gartside as the honest, harried Antigonus and Zenaida Yanowsky as his furious, morally uncompromising wife, Paulina.
What’s striking is the synthesis of dance, music and designs. Reuniting the team from his Alice in Wonderland, Wheeldon’s eloquent storytelling is propelled by Joby Talbot’s driving score, its rhythmic accents, perky tunes and underlying ominousness point…
Despite my reservations about the music and some aspects of the design, this is a fine addition to The Royal Ballet’s repertoire, which has taken on the near impossible task of conveying one of Shakespeare&… Continue Reading
The vocabulary of movements cycles almost imperceptibly from abstractly stuttering palsy to clearly representational scenes of an absurd, twisted nature, presented with clownish playfulness & expert manipulat… Continue Reading
The dancers are committed and able, and do their best with the material, but the action is muddled, the ideas unclear, and the choreography an over-wrought and dated hybrid of classicism and quirkiness.
…the gritty yet highly stylised 90-minute performance possessed a level of kinetic integrity and emotional truth that lifted it well out of the ordinary.