This was a programme of cabaret dance that could have fallen flat in the performances of less experienced and expressive artists. 'Other Stories' was made by Whelan and Watson, in every sense. Continue Reading
Wheeldon and his excellent team have conjured up an old-fashioned romance, enveloped in an ultra-modern package of high quality design and technology... Continue Reading
Christopher Wheeldon’s revisionist take on Cinderella attempts to imitate the grand classical ballets of Imperialist Russia. But it’s a very pale imitation, in spite of being dressed to kill.
The reworking takes its inspiration from the Brothers Grimm, which usually suggests something darker than the Disneyfied norm, but this one is bright and romantic. We do lose the fairy godmother and her pumpkin (I know!)…
…a supremely fresh reimagining of a well-trodden tale.
One of Christopher Wheeldon’s greatest assets is his taste in stage designers, and it’s worth seeing this Cinderella just for the combined visual sorcery of Julian Crouch and Basil Twist.
Some of the stronger dancers from the original show are no longer in the cast, including Rambert’s Dane Hurst. But his replacement, Jacob O’Connell, a winner in the BBC Young Dancer competition, is beautiful to watch, especially in a slow, animal solo, prowling c…
Inala is a show that enchants as much as it impresses. The choreography, by Rambert Dance Company director Mark Baldwin, fizzes with originality, and seamlessly fuses western-contemporary and traditional-African tropes.
As a representation of Kahlo’s life and work, the closing ceremony is rather perplexing, but, as a spectacle simply to savour, it is sensational.
The piece is always at its best when it is most physical: the Shechter Junior dancers bring a muscular energy to the proceedings.
In a recreation of an indigenous Mexican fertility ritual four women, suspended by their feet, “fly” around a 30-metre wooden pole. Goodness only knows what this has to do with Frida Kahlo, but it certainly looks beautiful.
'The Four Fridas' can’t decide if it’s an intimate portrait of a remarkable woman or a glorious display of pyrotechnics, so it tries to be both and doesn’t succeed as either. Continue Reading