October 2010

  1. Birmingham Royal Ballet 'Slaughter on Tenth Avenue. Celine Gittens and Robert Parker.

    Birmingham Royal Ballet in Pointes of View at Sadler's Wells

    Rachel Nouchi, Tuesday 19 October 2010 — Performance: 15 & 16 October 2010

    Reviewed: 15 October Triple Bills are strong on entertainment value and usually have no problem attracting the crowds for the pick and mix style of programming packaged into palatable bite size chunks. The Birm… Continue Reading

  2. Royal Ballet Kim Brandstup's 'Invitus Invitam' Leanne Benjamin & Edward Watson
Photo: Johan Persson

    Royal Ballet in La Valse/Invitus Invitam/Winter Dreams/Theme & Variations at Royal Opera House

    Graham Watts, Tuesday 19 October 2010 — Performance: in rep until 30 October 2010

    Reviewed: 15 October 2010 This first mixed programme of the new season was amply proportioned: a quadruple, rather than the more usual triple bill, with a brand new ballet sandwiched in amongst three from acknow… Continue Reading

  3. Ben Duke in Discombobulator at Purcell Room, Southbank Centre

    Lise Smith, Tuesday 19 October 2010 — Performance: 15 & 16 October 2010

    Reviewed: 15 October 2010 Choreographer/performer Ben Duke wakes up onstage to discover a mysterious brick wall on the screen behind him, and the sound of water splashing with each movement of his limbs. This is… Continue Reading

  4. Royal Ballet in La Valse/Invitus Invitam/Winter Dreams/Theme & Variations at Royal Opera House

    Press Review Judith Mackrell, Guardian, Monday 18 October 2010Performance in rep until 30 October 2010

    ‘The fun of the evening comes in the two works that open and close it. Lauren Cuthbertson delivers a pitch perfect fusion of period glamour and intelligent style in Ashton’s La Valse. Sergei Polunin, in a miracle of classical precision, virtuosity, and rom… 

  5. Trisha Brown 'L'amour au theatre'
Photo: Julia Cervantes

    Trisha Brown Repertory Evening at Queen Elizabeth Hall, Southbank Centre

    Lise Smith, Monday 18 October 2010 — Performance: 15 - 17 October 2010

    Reviewed: 15 October Following Dance Umbrella’s focus on Anne Teresa de Keersmaeker and her company Rosas in 2006, it’s the turn of eminent New York choreographer Trisha Brown to be celebrated by the… Continue Reading

  6. Bonnie Bird Choreography Awards 2010.
From top: Ricky Napier with Cindy Claes, with Lucy Guerin & Rosemary Butcher, with Vangelis Legakis.
Photos: Tony Nandi

    Bonnie Bird Choreography Awards 2010

    Friday 15 October 2010

    The Bonnie Bird Choreography Awards for 2010 were presented on Monday 11 October by choreographer Rosemary Butcher. Cindy Claes, Bethanie Harrison and Anusha Subramanyam each received a UK New Choreography Award… Continue Reading

  7. Barak Marshall in Monger at Barbican Theatre

    Press Review Zoe Anderson, Independent, Friday 15 October 2010Performance 8 & 9 October 2010

    ‘Marshall and his dancers have good comic timing. They have good timing in the pure dance sections, too. Moving in unison, they dip and turn to folk rhythms. A slow swing of the arms will snap into place, the phrasing full and crisp.’  

  8. Move: Choreographing You at Hayward Gallery, Southbank Centre

    Press Review Sarah Frater, Evening Standard, Friday 15 October 2010Performance 13 October - 9 January 2011

    ‘If you think Marcel Duchamp’s ready-mades put a bomb under easel art, it was nothing compared with the fuss when experimental artists and choreographers asked similar questions about dance…’  

  9. Move: Choreographing You at Hayward Gallery, Southbank Centre

    Press Review Sarah Crompton, Telegraph, Friday 15 October 2010Performance 13 October - 9 January 2011

    ‘Like much of this show, it asks a lot of the visitor, changing them from spectator into dancer. For dance fans, it is a unique opportunity to rediscover significant segments of dance history (there’s a wonderful and extensive archive and a related perform… 

  10. Jonathan Burrows & Matteo Fargion in Cheap Lecture / The Cow Piece at Lilian Baylis Studio, Sadler's Wells

    Press Review Judith Mackrell, Guardian, Friday 15 October 2010Performance 13 - 15 October 2010

    ‘It’s all wildly, unclassifiably bonkers – postmodern music hall or performance art in a house of mirrors or a tower of Babel. But the timing of every note, shrug, laugh and gesture is awesome. The nonsense has a shining clarity.’  

  11. Candoco Dance Company in Renditions at Queen Elizabeth Hall, Southbank Centre

    Press Review Sanjoy Roy, Guardian, Friday 15 October 2010Performance 11 & 12 October 2010

    ‘Their current programme is ambitious and stylistically mixed, but never quite fulfils its promise.’  

  12. Birmingham Royal Ballet in Romeo & Juliet at Sadler's Wells

    Press Review Mark Monahan, Telegraph, Friday 15 October 2010Performance 12 - 14 October 2010

    ‘…every single corps member puts so much effort into their roles as townspeople that they appear to be not a group of dancers filling in time before the big fight, but real, flesh-and-blood Veronesi going about their business. It’s subtle but compelling… 

  13. Flashdance at Shaftesbury Theatre

    Press Review Charles Spencer, Telegraph, Friday 15 October 2010Performance booking to 26 February 2011

    ‘Choreographer Arlene Phillips has come up with lots of Hot Gossip-style dance routines for scantily-clad chicks, plus loads of energetic street-style numbers, but the dancing isn’t nearly as spectacular as it is in the movie, and the famous chair dance an… 

  14. Flashdance at Shaftesbury Theatre

    Press Review Michael Bilington, Guardian, Friday 15 October 2010Performance booking to 26 February 2011

    ‘thanks to Arlene Phillips’s choreography and Nikolai Foster’s direction, the show brims with physical energy and is full of visual invention. All the same, there are aspects of this blue-collar Cinderella story that don’t quite add up.’  

  15. Flashdance at Shaftesbury Theatre

    Press Review Henry Hitchings, Evening Standard, Friday 15 October 2010Performance booking to 26 February 2011

    ‘… the show is modern too, as Arlene Phillips’s tight choreography introduces elements of the brilliantly robotic street dance that invariably adorns Britain’s Got Talent.’  

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