May 2010

  1. Susan and Darren

    Review: Susan & Darren at Lilian Baylis Studio, Sadler's Wells

    Libby Costello, Thursday 13 May 2010 — Performance: 11 - 15 May 2010

    Reviewed: 11 May _*Susan & Darren* _may have started out as a simple idea, a show about a guy and his mum, but when you scratch beneath the surface and go deeper than small talk, everyone has a story to tell… Continue Reading

  2. Feature: 'The Mind is a Muscle'

    Thursday 13 May 2010

    The Mind is a Muscle…was the title of a recent workshop at Tate Modern examining the relationship between the visual arts and dance. Catherine Hale writes: High-profile collaborations between visual artis… Continue Reading

  3. Royal Ballet in Electric Counterpoint / Asphodel Meadows / Carmen at Royal Opera House

    Press Review Zoe Anderson, Independent, Tuesday 11 May 2010Performance 5 - 15 May 2010

    “Scarlett handles soloists and corps de ballet with some distinctive touches”  

  4. Lost Dog in Salvage at The Place

    Press Review Judith Mackrell, Guardian, Tuesday 11 May 2010Performance 8 May 2010

    There is a refreshing simplicity about this latest work from Lost Dog…it uses a basic mix of text and movement to tell a simple and perfectly formed short story.”  

  5. Akram Khan Company in Gnosis at Sadler's Wells

    Press Review Sarah Crompton, Telegraph, Tuesday 11 May 2010Performance 26 & 27 April 2010

    “the purity of Khan’s movement, the way his body becomes an instrument in itself, with extraordinary contrasts of softness and speed, intensity and calm.” 

  6. Ballet Nacional de Espana in Dualia / Romance de Luna / La Leyenda at London Coliseum

    Press Review Sarah Crompton, Telegraph, Tuesday 11 May 2010Performance 27 April - 2 May 2010

    “though the massed troupes of stamping and clicking dancers can never fail to be thrilling; in La Leyenda, individual moments shine, but there is little variation of energy and very little partnering work.” 

  7. Review: Breakin' Convention at Sadler's Wells

    Sarah Golding, Tuesday 11 May 2010 — Performance: Sat 1 May 2010

    The charged energy of Phase T and Hilty & Bosch providing a dynamic shift from the haunting introspective work of Mickael ‘Marso’ Riviere and Renegade‘s dance artwork that closed the progra… Continue Reading

  8. Companhia de Danca, Deborah Colker in Cruel at Touring

    Press Review David Dougill, Sunday Times, Monday 10 May 2010Performance coming to The Barbican, 28 Jun - 3 July 2010

    ‘This is an incoherent production, though vigorously danced.’ 

  9. Breakin' Convention at Sadler's Wells

    Press Review Luke Jennings, Observer, Monday 10 May 2010Performance 1 - 3 May 2010

    ‘The fare, as ever, was variable, from the brilliance of France’s Pro-Phenomen to the calculatedly naff rusticity of Just 4 Funk, a west country b-boy crew who spin and freeze to the Wurzels’ “Combine Harvester” song, and the sternness of AD… 

  10. Compagnie Marie Chouinard in bODY_rEMIX/gOLDBERG_ vARIATIONS at Sadler's Wells

    Press Review Sarah Frater, Evening Standard, Monday 10 May 2010Performance 7 & 8 May 2010

    ‘She could be saying something about pointe-shoe dancing being a type of fetish, and beautiful though it is, the dancers are often in pain. She could also be alluding to ideas of choreography controlling the dancers to set the audience free, but either way, her mea… 

  11. Royal Ballet in Electric Counterpoint / Asphodel Meadows / Carmen at Royal Opera House

    Press Review Mark Monahan, Telegraph, Monday 10 May 2010Performance in rep, 5 - 15 May 2010

    ‘A classicist at heart, but spicing up this vocabulary with all manner of idiosyncratic contemporary inflections, Scarlett instinctively knows when to echo his lead couple with a triptych of similar partnerships to one side, or at the rear of the stage, or on both … 

  12. Royal Ballet in Electric Counterpoint / Asphodel Meadows / Carmen at Royal Opera House

    Press Review Jenny Gilbert, Independent on Sunday, Monday 10 May 2010Performance in rep, 5 - 15 May 2010

    ‘The 23 minutes of his ballet are packed with incident, and the kind of densely patterned busy-ness that ravishes the eye, while setting out a strong case for the endurance of classical dance in the Ashton mould. This isn’t a young man who feels a need to sma… 

  13. Royal Ballet in Electric Counterpoint / Asphodel Meadows / Carmen at Royal Opera House

    Press Review Clement Crisp, Financial Times, Monday 10 May 2010Performance in rep, 5 - 15 May 2010

    ‘The first cause for delight was the choreographic debut on the main stage by Liam Scarlett (aged 24 and a member of the company) announcing a talent for making dances of true classical style, musically apt, and assured.’  

  14. Royal Ballet in Electric Counterpoint / Asphodel Meadows / Carmen at Royal Opera House

    Press Review Judith Mackrell, Guardian, Monday 10 May 2010Performance in rep, 5 - 15 May 2010

    ‘This would be a significant piece from someone twice his age – as it is, Scarlett displays a precocious sophistication both in his musical responses and in the way he handles his own, underlying theme of mortality.’  

  15. Royal Ballet in Electric Counterpoint / Asphodel Meadows / Carmen at Royal Opera House

    Press Review Luke Jennings, Observer, Monday 10 May 2010Performance in rep, 5 - 15 May 2010

    ‘Perhaps most importantly, at this critical moment in the Royal Ballet’s history (director Monica Mason’s contract ends in 2012, and no successor has yet been named), Asphodel Meadows demonstrates that the way ahead for large-scale classical companies d… 

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