With a pre-recorded narration from Lindsay Duncan filleted from Duffy’s seductively witty and surreptitiously subversive text, this is high calibre entertainment. Incorporating very young children in the opening scenes as Snow White’s friends and later as forest animals
Patel is an astounding stage presence – spinning soundlessly across a flood of Scarlatti notes, collecting herself into a resonating stillness.
Lorent makes beguiling use of her chorus of children, who tumble across the stage as Snow White’s childhood playmates and as an adorable menagerie of woodland creatures.
The wild card in this triple bill comes from Arthur Pita, a choreographer who does things with ballet you don’t see anywhere else.
Robinson is the staccato dancer par excellence, and Reich’s minimalist composition for glockenspiel and piccolo perfectly sets off her sharply incised line
Muntagirov and Nuñez are technically thrilling; she, at her finest moments, can combine an absolute mastery of the choreography, with the illusion that she’s dancing it for the first time.
Review: English National Ballet & English National Ballet School - My First Ballet: Sleeping Beauty - The Peacock
The full length of the well loved classical ballet is cleverly condensed by Company Associate Artist choreographer George Williamson to tell the famous fairy tale in just one hour... Continue Reading
But Pita is doing something very distinctive here, using the “phasing” techniques of Reich’s score to accumulate layers of expressive richness.
In his first work for theatre, the Turner Prize winning artist will design a front cloth for the Company's upcoming 'She Said' programme, which opens at Sadler's Wells next month... Continue Reading
Inventive and upbeat, the whole evening is a positive advertisement for ageing... Continue Reading