October 2008

  1. Mariinsky/Kirov Ballet in Balanchine & Ratmansky programme at Sadler's Wells

    Press Review Debra Craine, Times, Friday 17 October 2008Performance 15 & 16 Oct 08

    ‘Only Olesya Novikova, as Polyhymnia, offered the kind of radiant glow worthy of a Muse; her sexy and vivacious solo was the highlight.’  

  2. Mariinsky/Kirov Ballet in Balanchine & Ratmansky programme at Sadler's Wells

    Press Review Sarah Frater, Evening Standard, Friday 17 October 2008Performance 15 & 16 Oct 08

    ‘…Novikova is lovely, a small, neat dancer with both physical intelligence and youthful brio.’  

  3. Mariinsky/Kirov Ballet in Balanchine & Ratmansky programme at Sadler's Wells

    Press Review Judith Mackrell, Guardian, Friday 17 October 2008Performance 15 & 16 Oct 08

    ‘..the honours of the programme go to Novikova and Vladimir Shklyarov in Balanchine’s Tchaikovsky pas de deux. This showy little duet has become a gala standard, but these two dance with a natural, blithe recklessness that makes the choreography look fresh… 

  4. Sangre Flamenco

    Thursday 16 October 2008

    Sangre Flamenca, Peacock Theatre 28 Oct – 15 Nov 08 Nuevo Ballet Español bring a brand new production – Sangre Flamenca, (”Flamenco Blood“) to the Peacock Theatre. The company includes… Continue Reading

  5. Mariinsky/Kirov Ballet in Balanchine & Ratmansky programme at Sadler's Wells

    Graham Watts, Thursday 16 October 2008 — Performance: 15 & 16 Oct 08

    The focus of this ground-breaking week – the Mariinsky Ballet’s first-ever visit to Sadler’s Wells – switched from Forsythe to Balanchine in their second programme of dance. Back when St … Continue Reading

  6. Mariinsky/Kirov Ballet in Forysthe programme: Steptext, Approximate Sonata, The Vertiginous Thrill of Exactitude, In the Middle Somewhat Elevated at Sadler's Wells

    Press Review Zoe Anderson, Independent, Thursday 16 October 2008Performance 13 & 14 Oct 08

    ‘In the Middle saves the night. To the clunks and thuds of Thom Willems’s score, the dancers slice through Forsythe’s walloping moves. For the first time, the dancing has real scale. Irina Golub’s duet with Mikhail Lobukhin has a sharp-edged pr… 

  7. Royal Ballet in Manon at Royal Opera House

    Press Review Sarah Frater, Evening Standard, Wednesday 15 October 2008Performance in rep to 27 Nov 08

    ‘People talk about good ballets and bad ones but the real difference is between the casts. A mismatched pair will leave the best choreography looking flat, while dancers who physically and artistically click can transform almost any steps.’  

  8. Mariinsky/Kirov Ballet in Forysthe programme: Steptext, Approximate Sonata, The Vertiginous Thrill of Exactitude, In the Middle Somewhat Elevated at Sadler's Wells

    Press Review Sarah Frater, Evening Standard, Wednesday 15 October 2008Performance 13 & 14 Oct 08

    ‘… the Mariinsky’s first new-ish mixed bill devoted to William Forsythe was disappointing.’  

  9. Mariinsky/Kirov Ballet in Forysthe programme: Steptext, Approximate Sonata, The Vertiginous Thrill of Exactitude, In the Middle Somewhat Elevated at Sadler's Wells

    Press Review Sarah Crompton, Telegraph, Wednesday 15 October 2008Performance 13 & 14 Oct 08

    ‘Approximate Sonata is also about dance itself, beginning with Andrey Ivanov locked into distorted movements, like a stroke victim, and following instructions from Elena Sheshina that pull him into shape. What follows are four duets, under chilly half-light, ful… 

  10. Mariinsky/Kirov Ballet in Forysthe programme: Steptext, Approximate Sonata, The Vertiginous Thrill of Exactitude, In the Middle Somewhat Elevated at Sadler's Wells

    Press Review Debra Craine, Times, Wednesday 15 October 2008Performance 13 & 14 Oct 08

    ‘In the middle, somewhat elevated really opens up their refined Russian technique and they worked hard to embrace Forsythe’s zest for off-kilter dynamism and competitive rivalry, undaunted by the clangorous attack of Thom Willems’s score.’  

  11. Mariinsky/Kirov Ballet in Forysthe programme: Steptext, Approximate Sonata, The Vertiginous Thrill of Exactitude, In the Middle Somewhat Elevated at Sadler's Wells

    Press Review Judith Mackrell, Guardian, Wednesday 15 October 2008Performance 13 & 14 Oct 08

    ‘Most mesmerising is Ekaterina Kondaurova, whose extravagantly supple dancing works an extreme chemistry with Forsythe’s style. As her long body wraps around the acute angles of the movement, the choreography appears to melt and warp. The steps are there, … 

  12. Mariinsky/Kirov Ballet in Forysthe programme: Steptext, Approximate Sonata, The Vertiginous Thrill of Exactitude, In the Middle Somewhat Elevated at Sadler's Wells

    Press Review Clement Crisp, Financial Times, Wednesday 15 October 2008Performance 13 & 14 Oct 08

    ‘They are the most beautiful dancers in the western world. They are from St Petersburg, and Vaganova School training, Mariinsky Ballet traditions and Russian idealism have produced artists who dignify and illuminate everything they perform.’ 

  13. Rodrigo Pardo, for Dance Umbrella in Toilet Tango at Bathstore, Baker St

    Press Review Judith Mackrell, Guardian, Tuesday 14 October 2008Performance 11 & 12 Oct 08

    ‘…Toilet Tango is a gem of street theatre. Wittily imagined, impeccably performed and just 10 minutes long, it not only draws the crowds, it keeps them.’  

  14. Mariinsky Ballet, William Forsythe 'In the middle, somewhat elevated' Photo: Razina

    Mariinsky/Kirov Ballet in Forysthe programme: Steptext, Approximate Sonata, The Vertiginous Thrill of Exactitude, In the Middle Somewhat Elevated at Sadler's Wells

    Graham Watts, Tuesday 14 October 2008 — Performance: 13 & 14 Oct 08

    Since this is the Mariinsky Ballet’s 276th Season and Sadler’s Wells has long been the London host to the dancers of the world, it’s remarkable that this fabulous company has never graced the W… Continue Reading

  15. Richard Alston Dance Company in 40 / 60 at Sadler's Wells

    Press Review Zoe Anderson, Independent, Monday 13 October 2008Performance 2 & 3 Oct 08

    ‘The Men In My Life mixes solos, duets and group dances, from 1971’s Strider to 2004’s Shimmer. It’s a marvellous compilation, demonstrating the range of Alston’s sensitive, musical style.’ 

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