From the fundamentally simple idea of human calligraphy Chouinard constructs a work of staggering virtuosity whose accumulating speed and intricacy reaches an intense climax as the dancers shed their black clothes and dance in a strobe light.
Poignant, funny and outrageous dance theatre, as entertaining as it is life affirming
Francisco Hidalgo’s solo tingles with passion as he shimmies at incredible speed. These moments of pure Flamenco are the saving grace of the show, as is Kathak dancer Ash Mukherjee, who twirls his body in a swirling storm.
Configured for the vast auditorium of the Royal Albert Hall, it features no fewer than 60 swans. When they make their first entrance, wave after wave of them, it’s awesome. To see them move and breathe as one is also profoundly touching.
Director Drew McOnie is a musical theatre whizz, and this is his first major show for his own company. A clever choreographer of unstoppable energy, his dance is full of wit, zip and zest, and a lot of leg.
Obsidian Tear is full of jumps and curves and classical poise, its all-male cast moving with muscular fluidity, like balletic samurai, to the swell and retreat of Esa-Pekka Salonen’s score.
The Barbican concert hall was packed with a largely Slovakian, hugely appreciative crowd for what was, at times, a bewilderingly energetic display of folk fantasia... Continue Reading
McOnie’s choreography is fizzing and lively, with Jerome Robbins’-style ensembles set to a musical mish-mash of styles from composer Grant Olding.
Christopher Wheeldon’s Within The Golden Hour continues to delight with its melting back screen, colours bleeding into one another as the dancers form gorgeous whorls and fluid diagrams in an abstract ballet of uplifting, bucolic beauty, all culminating in an organ…