As a whole, Frankenstein shows impressive confidence. Scarlett is assured in his use of a large cast, and there are beautifully shaped dances.
Liam Scarlett is a talented abstract, neoclassical choreographer, but his Frankenstein is the least enjoyable full-evening work I have ever seen the Royal Ballet perform.
In Liam Scarlett’s new Frankenstein for the Royal Ballet, it’s not the monster who gets top billing. Instead, Victor Frankenstein (Federico Bonelli) and his fiancée Elizabeth (Laura Morera) are at the centre of the story.
There’s a very powerful work at the heart of this ballet, yet Scarlett needs to cut and cut again to set it free. And given the amount of money that was spent on the production, the Royal should insist that he does.
Breakin’ Convention, now in its 13th year, is one of the great success stories of dance venue Sadler’s Wells.
With a bounce in their steps and looks of mischief, they twizzle into pretzels, play amazing tricks with floating hats and turn their limbs into skipping ropes and Hula Hoops.
This is also the era of voguing, and sure enough the dancers are going through the poses with mannered solemnity. But they are also imitating the sprezzatura of the Renaissance aristocrat who has read Castiglione’s famous The Book of the Courtier.
What’s effective about the dance element in Bronstein’s installation is that live bodies not only bring the images to life and but also emphasise the social codes and style of his favoured Baroque period. Continue Reading
"..lately all my dances as an ‘offering’ - to the audience, the world, to nature, to spirits, especially to the wickedest Basque witch I knew... Continue Reading
A launch event for annual competition organised by the world famous makers of ballet shoes for over three generations – took place at the company’s Covent Garden store yesterday, hosted by Kimberly Wyatt... Continue Reading