April 2009

  1. The Forsythe Company in You made me a monster at Sadler's Wells

    Press Review Clement Crisp, Financial Times, Friday 24 April 2009Performance 20 & 21 Apr 09

    ‘I query the contribution of the movement, in which jerking limbs and groans confuse, even subvert, the issue. The admirable Wolfgang Stange and his Amici ensemble (which uses sufferers from disabilities to make theatrical magic) place such behaviour in a rewarding… 

  2. Anton & Erin in Cheek to Cheek at London Coliseum

    Press Review Laura Thompson, Telegraph, Friday 24 April 2009Performance 22 - 26 Apr 09

    ‘It has the potential to be wonderful, but it cannot coast on the sea of television fame; it needs to become theatre.’  

  3. Anton & Erin in Cheek to Cheek at London Coliseum

    Press Review Donald Hutera, Times, Friday 24 April 2009Performance 22 - 26 Apr 09

    ‘It’s possible that this slick yet sometimes clunky show would have meant more to me if I were a regular viewer of Strictly.’  

  4. Anton & Erin in Cheek to Cheek at London Coliseum

    Press Review Sarah Frater, Evening Standard, Friday 24 April 2009Performance 22 - 26 Apr 09

    ‘You forgive the rictus grins when you see Anton’s nimble footwork and what used to be called “finish”, where every step is completed with debonair precision.’  

  5. Anton & Erin in Cheek to Cheek at London Coliseum

    Graham Watts, Friday 24 April 2009 — Performance: 22 - 26 Apr 09

    I liked the simplicity of this show: a good, big band; an elegant, schmoozy crooner; two charismatic stars; and all supported by a dynamic dance ensemble. The full house of *Strictly Come Dancing* fans was very … Continue Reading

  6. Gilmore Productions in The Blank Album at The Place

    Graham Watts, Friday 24 April 2009 — Performance: 21 Apr 09

    I regret to say that I found this to be a muddled affair. The reason I’m sorry about being so dismissive is that the five performers were a generally engaging and multi-talented ensemble. They each danced,… Continue Reading

  7. The Forsythe Company in You made me a monster at Sadler's Wells

    Press Review Zoe Anderson, Independent, Wednesday 22 April 2009Performance 20 & 21 Apr 09

    ‘That lucid prose is the strongest thing in You Made Me a Monster. Forsythe’s memories are both clear and angry, evoking rage and grief. The audience’s skeleton-building exercise makes you focus on the narrative. How much does the dancing really add?… 

  8. The Forsythe Company in You made me a monster at Sadler's Wells

    Press Review Donald Hutera, Times, Wednesday 22 April 2009Performance 20 & 21 Apr 09

    ‘Musing on what this piece was trying to tell me about being alive, I remembered that Forsythe’s spouse died prematurely in the mid-1990s. And suddenly his Monster coalesced into a visceral meditation on illness, beauty, ugliness and grief.’  

  9. The Forsythe Company in You made me a monster at Sadler's Wells

    Press Review Judith Mackrell, Guardian, Wednesday 22 April 2009Performance 20 & 21 Apr 09

    ‘.. the implacable chaotic force of the dancing as it ricochets around the crowded stage recreates bereavement as an experience both basic and universal.’  

  10. Havana Rakatan. Photo: Sven Creutzmann

    Havana Rakatan revisited

    Tuesday 21 April 2009

    English director Stephen Rayne was called in to reshape the effervescent Cuban show Havana Rakatan. “The company are clearly apprehensive at my presence. What can this very pale Englishman do that could po… Continue Reading

  11. The Forsythe Company in You made me a monster at Sadler's Wells

    Press Review Sarah Crompton, Telegraph, Tuesday 21 April 2009Performance 20 & 21 Apr 09

    ‘One definition of great art is that it takes the events of life and transmutes it into something universal. You Made Me A Monster does just that.’  

  12. The Forsythe Company in You made me a monster at Sadler's Wells

    Graham Watts, Tuesday 21 April 2009 — Performance: 20 & 21 Apr 09

    I glimpsed a friend leaving after the 7pm performance as I queued for the 8 (there are three consecutive showings each night). “You’ll laugh and laugh”, he said with a gluttonous side order of … Continue Reading

  13. Birmingham Royal Ballet in Sylvia at London Coliseum

    Graham Watts, Monday 20 April 2009 — Performance: 15 - 18 Apr 09

    Remarking upon the silliness of ballet stories is much like complaining about the childishness of pantomimes. We are well used to our balletic minds being stretched to accept maidens turning into swans, not to m… Continue Reading

  14. Jan Fabre in Orgy of Tolerance at Queen Elizabeth Hall, Soutbank Centre, part of Spill Festival

    Press Review Sarah Frater, Evening Standard, Monday 20 April 2009Performance Apr 09

    ‘The 90-minute piece is predominantly speech-based, although there is a patchwork soundtrack and the final danced scene is thrillingly done. And the timing is brilliant, with the comic coat-tailing the macabre.’  

  15. Birmingham Royal Ballet in Pomp and Circumstances: Serenade/Enigma Variations/Still Life at the Penguin Café at London Coliseum

    Press Review Jenny Gilbert, Independent on Sunday, Monday 20 April 2009Performance 14 & 15 Apr 09

    ‘Surprisingly, it was the fierce purity of Balanchine’s Serenade – no pretending, no “acting” – that brought out the best in the company, with Natasha Oughtred truly glamorous and sincere in the principal role, the corps of women, svel… 

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