The most recent in a long line of choreographers creating their own interpretations of Tchaikovsky’s truly iconic ballet score is Jean-Christophe Maillot, who brought his company Les Ballets de Monte Carlo to … Continue Reading
The show is at its best when the physicality is allowed to do the talking. There’s some delightful trick-biking, and fine rope work. Performers prance across the wire apparently unaware of the drop below, even when they are hanging upside down.
There is much to admire in this unique combination of two of Stravinsky’s greatest works for dance, especially in terms of the fluid exactness of Keegan-Dolan’s group choreography... Continue Reading
There is a blood-powered, deep-seated tribalism in the sinewy alliance of stomping movement and the urgent throb of Stravinsky’s music, played magnificently by the Royal Ballet Sinfonia under the inspired baton of David Brophy.
Dance UK and the Association of Dance of the African Diaspora (ADAD) hosted their first-ever fundraising event recently (Sunday 6 April), a champagne high tea at the Royal Ballet School. The afternoon featured p… Continue Reading
The stand-out stunt comes from mustachioed Mozes, who spins around a vertiginous rope at a dizzying pace without a safety net. Elsewhere there are athletic surprises on a bicycle that one never sees in the Tour de France.
It is, and I choose my words carefully, an outrage perpetrated against a central masterpiece in the old classic repertory that remains a sublime example of musical and choreographic grace.
The show comes alive when Swanilda and her friends sneak into Coppélius’s workshop to get a closer look at his lifesize doll. The dancers are deliciously mischievous and the audience eggs them on.
The linchpin of the staging is Edward Watson’s portrayal of Leontes and his descent into a nightmare of jealousy and manic suspicions, which must give the narrative its momentum. Of course, Watson is superb, his body contorted by shapes entirely revelatory, his anger…
With her gentle beauty and bountiful style, Cuthbertson is ideally cast as Hermione, and her incomprehension of Leontes’s manic jealousy and her final, broken collapse are affectingly handled. Watson, meanwhile, finds new registers of mental agony.
Keegan-Dolan is a rarely gifted dancemaker and in this Stravinsky two-parter he gets so many things absolutely right that this critic left wreathed in smiles; if I could, I’d scrawl big red Biro ticks over it all, cheerful as a schoolteacher on the last day of term.
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.