February 2016

  1. Tanztheater Wuppertal Pina Bausch - como el musguito en la piedra, ay si,si,si…

    Press Review 3Neil Norman, The Stage, Monday 15 February 2016Performance 11 - 14 February 2016

    And yet there is something missing. Too often it seems like an anaemic pastiche of the original. There are some fine new additions to the company but there is a conspicuous depletion of the mischievous anarchy that characterises Bausch’s work 

  2. Royal Ballet - After the Rain / Strapless / Within the Golden Hour -

    Press Review 3Mark Monahan, The Telegraph, Monday 15 February 2016Performance 12, 16, 17, 19 February & 10, 11 March 2016

    Osipova also, it must be said, finds some pathos in the concluding scene: all in all, a genuine star turn that it is impossible to imagine this piece without. 

  3. Tanztheater Wuppertal Pina Bausch - '…como el musguito en la piedra, ay si, si, si…' Photo: Laszlo Szito

    Tanztheater Wuppertal Pina Bausch - …como el musguito en la piedra, ay si, si, si…

    Josephine Leask, Monday 15 February 2016 — Performance: 11 - 14 February 2016

    In a chorus section as they form a long chain sitting on the floor they have so much fun, falling and rebounding on top of each other that you want to be part of their family... Continue Reading

  4. Royal Ballet, 'Strapless'. Natalia Osipova as Amélie Gautreau. Photo: Bill Cooper, ©ROH, 2015.

    Royal Ballet - After the Rain / Strapless / Within the Golden Hour

    Rachel Elderkin, Monday 15 February 2016 — Performance: 12, 16, 17, 19 February & 10, 11 March 2016

    Osipova's opening sequences display her as a proud, elegant character, seduced by the admiration of others. Her movement is indulgent, full of shimmying bourrées. Wheeldon emphasises her vanity... Continue Reading

  5. Compagnie Yoann Bourgeois - He Who Falls (Celui qui tombe) - The Barbican

    Press Review 5Natasha Tripney, The Stage, Monday 15 February 2016Performance 3 - 6 February 2016

    For all its physical daring, there’s delicacy and beauty here too, the breath-stealing sequences interspersed with gentler moments. Bourgeois has created a kind of body poem. 

  6. Ruth St Denis (in brownface): The Mother of American Modern Dance authenticates herself with Indian men dressed as priests - New York 1906. (From 'Sweating Saris: Indian Dance as Tansnational Labor' by Priya Srinivasan)

    Writing from Silence

    Monday 15 February 2016

    A transnational collective of dance scholars and artists of colour argue that the debate sparked by Akram Khan's comments about female choreographers has so far been polarised and one-dimensional... Continue Reading

  7. Tanztheater Wuppertal Pina Bausch - como el musguito en la piedra, ay si,si,si…

    Press Review 2Jeffery Taylor, Sunday Express, Sunday 14 February 2016Performance 11 - 14 February 2016

    Premiered in 2009 in its hometown days before Bausch’s death, this top-heavy concoction has been cleverly marketed as her epitaph ever since and sells out wherever it goes. Including Islington. 

  8. Tanztheater Wuppertal Pina Bausch - como el musguito en la piedra, ay si,si,si…

    Press Review 3Lyndsey Winship, Evening Standard, Friday 12 February 2016Performance 11 - 14 February 2016

    Made after a visit to Chile, it’s a piece that’s much warmer and gentler than the works that made Bausch famous, which were full of sadism and masochism and antagonism between the sexes.  

  9. Tanztheater Wuppertal Pina Bausch - „ . . . como el musguito en la piedra, ay si, si, si . . . “ (Like moss on a stone)

    Press Review 4Sanjoy Roy, Guardian, Friday 12 February 2016Performance 11 - 14 February 2016

    Yet if the look is familiar, the feel is strange, most noticeably in the relations between men and women. Out with mutual incomprehension and competitive powerplay, in with – it’s hard to believe – gallantry. 

  10. Candoco in Hetain Patel's 'Lets Talk About Dis'. Photo: Hugo Glendinning

    Candoco at 25 - anniversary year programme to include a new duet by Arlene Phillips

    Friday 12 February 2016 by Carmel Smith

    Awarding winning Candoco celebrates in 2016 with a programme of performances, special events, participation work and international touring... Continue Reading

  11. Julie Cunningham's  'Deep Down'. Photo: Chantal Guevara

    Resolution - Caldonia Walton / Sofie Burgoyne / Julie Cunningham - The Place

    Rachel Elderkin, Friday 12 February 2016 — Performance: 10 February 2016

    Resolution is all about presenting new, often experimental works & this programme, featuring work by Caldonia Walton, Sofie Burgoyne & Julie Cunningham, is a prime example of the breadth of work... Continue Reading

  12. Langdon Clay - Tallahatchie Bridge, 1997.

    Scottish singer/song writer on Karine Polwart on Falling and Feeling

    Wednesday 10 February 2016

    - in the latest Dance Umbrella Definite Article, edited by dramaturg Ruth Little, on the dynamic and emotional structure in popular songs... Continue Reading

  13. Rhiannon Faith 'Scary Shit'. Photo: Roxanna Ross

    Rhiannon Faith - on why there's nothing to be afraid of...

    Tuesday 9 February 2016 by Carmel Smith

    Hot on the heels of 'The Date', Faith premieres another show born out of real life experiences. 'Scary Shit' looks at fears, phobias and female friendships... Continue Reading

  14. John Singer Sargent's portrait of Madame X. Photograph: Metropolitan Museum of Art, New York

    Christopher Wheeldon - on new work Strapless

    Monday 8 February 2016 by Carmel Smith

    "For years, I’ve toyed with the idea of making a ballet about Amélie. Then Kevin O’Hare offered me a slot at the Royal Ballet and I thought this would be a perfect role for Natalia Osipova… Continue Reading

  15. Compagnie Yoann Bourgeois - He Who Falls (Celui qui tombe) - The Barbican

    Press Review 4Lyndsey Winship, Evening Standard, Monday 8 February 2016Performance 3 - 6 February 2016

    The women throw their arms around the men’s necks, and their bodies arc in the air, only invisible physics glueing them together. 

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