February 2014

  1. Tanztheater Wuppertal Pina Bausch - 1980 - A Piece by Pina Bausch - Sadler's Wells

    Press Review 4Lyndsey Winship, Evening Standard, Monday 10 February 2014Performance 7 - 16 February 2014

    At more than three-and-a-half hours, it’s a bit of an endurance test. There’s a cracking two-hour show hidden in here but with Pina that’s not the point. After all, life is not tightly edited, you have to take the lows with the highs.  

  2. Tanztheater Wuppertal Pina Bausch - 1980 - A Piece by Pina Bausch - Sadler's Wells

    Press Review 4Zoe Anderson, Independent, Monday 10 February 2014Performance 7 - 16 February 2014

    Now celebrating its 40th anniversary, the company is full of dancers who spent decades with Bausch, who died in 2009. They’re a team of powerful personalities.  

  3. Tanztheater Wuppertal Pina Bausch - 1980 - A Piece by Pina Bausch - Sadler's Wells

    Press Review 4Gerald Dowler, Financial Times, Monday 10 February 2014Performance 7 - 16 February 2014

    How you react to ‘1980’ (and indeed to Bausch’s work in general) will be determined by how you feel about the eloquence of the commonplace, the profoundness of the mundane.  

  4. Royal Ballet - Rhapsody / Tetractys – The Art of Fugue / Gloria - Royal Opera House

    Press Review 3Judith Mackrell, Guardian, Monday 10 February 2014Performance 7, 8, 11, 13, 15 February 2014

    Rhapsody’s second cast perform with a more sweetly youthful kind of reverie, but in Francesca Hayward’s feathered lightness and soft, unguarded radiance, the Royal has a ballerina to watch.  

  5. Royal Ballet - Rhapsody / Tetractys – The Art of Fugue / Gloria - Royal Opera House

    Press Review 2Clement Crisp, Financial Times, Monday 10 February 2014Performance 7, 8, 11, 13, 15 February 2014

    The concluding ‘Gloria’, Kenneth MacMillan’s contemplation of soldier-revenants of the first world war and their womenfolk, has an awful added relevance this year. Under-cast, with only Sarah Lamb fully to reveal its anguish, the dance nevertheless speaks… 

  6. Royal Ballet's Edward Watson & Natalia Osipova in Wayne Mcgregor's 'Tetractys - The Art of Fugue' Photo: Johan Persson, courtesy ROH

    Royal Ballet - Rhapsody / Tetractys – The Art of Fugue / Gloria - Royal Opera House

    Graham Watts, Monday 10 February 2014 — Performance: 7, 8, 11, 13, 15 February 2014

    There are many reasons to see this excellent programme but few are associated with Wayne McGregor's new work, uncomfortably sandwiched between two modern gems from the Royal Ballet’s repertoire... Continue Reading

  7. Royal Ballet - Rhapsody / Tetractys – The Art of Fugue / Gloria - Royal Opera House

    Press Review 3Lyndsey Winship, Evening Standard, Monday 10 February 2014Performance 7, 8, 11, 13, 15 February 2014

    Artist Tauba Auerbach has turned these same structural ideas into striking neon symbols, hanging above the dark stage, and McGregor takes an obvious lead from her zig-zagging shapes…the dancers’ bodies are like the squiggly workings of a long equation…  

  8. Royal Ballet - Rhapsody / Tetractys – The Art of Fugue / Gloria - Royal Opera House

    Press Review 3Zoe Anderson, Independent, Monday 10 February 2014Performance 7, 8, 11, 13, 15 February 2014

    The programme opens with Frederick Ashton’s ‘Rhapsody’, a virtuoso showcase. McRae is a surge of energy with superb comic timing, soaring and spinning through the firework steps with throwaway élan… Laura Morera dances with crisp speed, relishing…  

  9. Ivan Putrov - Men in Motion - London Coliseum

    Press Review Jeffery Taylor, Express, Sunday 9 February 2014Performance 30 - 31 January 2014

    Ivan Putrov and Daniel Proietto closed the evening in ‘Two x Two’, sadly reduced to a couple of flickering blobs in the darkness. It was a brave evening and an obviously expensive one with live orchestra and chorus. So please, Ivan, next time, get yourself … 

  10. Probe - Running on Empty - Soho Theatre

    Press Review 2Luke Jennings, Guardian, Sunday 9 February 2014Performance 4 - 16 February 2014

    Too much small-scale subsidised dance exists within a self-referential bubble, and if it wants to attract audiences from outside the ranks of friends, family and fellow-practitioners, it needs to ask itself some hard questions about the theatrical experience that it… 

  11. Tanztheater Wuppertal Pina Bausch - 1980 - A Piece by Pina Bausch - Sadler's Wells

    Press Review 4Judith Mackrell, Guardian, Sunday 9 February 2014Performance 7 - 16 February 2014

    However bizarre and dysfunctional their stage behaviour, they can unite a theatre into complete unguarded intimacy. The human condition may be unfathomable and unpredictable, but Bausch and her company beguile us into believing that we’re all in it together.  

  12. McOnie Company - Drunk - Bridewell Theatre

    Press Review 3Judith Mackrell, Guardian, Saturday 8 February 2014Performance 5 February - 1 March 2014

    While Drunk is performed with beguiling levels of energy, sass and skill, it’s doesn’t yet feel like a standalone dance show.  

  13. Royal Ballet - Rhapsody / Tetractys – The Art of Fugue / Gloria - Royal Opera House

    Press Review 4Laura Thompson, Telegraph, Saturday 8 February 2014Performance 7, 8, 11, 13, 15 February 2014

    This triple bill is an intriguing celebration of the choreographic art…the combination is intensely absorbing. It throws up all sorts of thoughts about the nature of ballet…what makes an audience engage emotionally with a plotless work?  

  14. Tanztheater Wuppertal Pina Bausch '1980: A Piece by Pina Bausch' Photo: Ulli weiss

    Going green for Tanztheater Wuppertal Pina Bausch

    Friday 7 February 2014 by Carmel Smith

    Sadler's Wells stage has been laid with turf for '1980 - A Piece by Pina Bausch'. There are a few tickets left for the eight performances... Continue Reading

  15. McOnie Company - Drunk- Bridewell Theatre

    Press Review 3Liz Hoggard, Evening Standard, Friday 7 February 2014Performance 5 February - 1 March 2014

    Choreographer Drew McOnie, who has worked with Matthew Bourne’s company, New Adventures, has an unabashed love of Gene Kelly and the golden age of MGM musicals — and the piece works best when it gives a modern twist to classic hoofer material.  

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