The show brings together over 38 artists, including singers, musicians and dancers – all recruited from the favelas rather than dance schools – and takes us loosely through the evolution of Brazilian social dance with such wide-eyed enthusiasm that it’s har…
The taut musculature of Mr White seems to almost ooze around the stage at a subtly shifting, humid pace... Continue Reading
Many of the dancers were recruited from the favelas rather than formal dance school, and this gives them a raw energy, as they switch from hyper-sexy to cartoon-tender in a second. Forget showgirls in feathers, this is sensuality rather than bootylicious cliché.
What’s so enjoyable about Mad Women is not just the dryness of its wit and its deft U-turns of fantasy, but also that it elicits such alert, intelligent performances from its cast.
…at the heart of the exhibition are Rainer’s dances, four of which are being performed throughout its run. The most familiar is Trio A (1966), a 10-minute sequence of seemingly disconnected moves – from simple arm-swings to whimsically asymmetric footwo…
We discover [Paul] White gripped by a narcoleptic torpor, from which he gradually rouses himself, assuming a series of quasi-animal forms – now spiderish, now ape-like – before driving himself to sweat-drenched exhaustion through a series of raw, self-exploratory rituals.
Oleg Fomin is the idle, blustering King Dodon, Natalia Savelieva is the calculating Queen of Shemakha, all smouldering glances and sultry split jetés, and Pavel Okunev is the Golden Cockerel, a powerful and even threatening presence with his beating wings and stabbing feet.
What purports to be a survey of mostly Afro-Brazilian culture is interminable, cabaret-orientated and grimly eager.
It’s a slow, slow build, starting with a single muscle moving at a time until sparks of feral energy break out. He isn’t really dancing, he’s “being”. It’s undancerly, unhuman, uncouth, even, but it’s compelling — and thrilling to see a dancer in such abs…
Lecavalier flips into a headstand to catch her breath, staying coolly upside down until she’s ready to set off again. When she leans into some robotic moves, there’s a sense of power seething behind each small tilt and angle.
There are so many reasons to cherish this new-old, opera-ballet production of Rimsky-Korsakov's cutting satire wrapped in a fairy tale that it's hard to know where to start the list... Continue Reading
As a performer, Lecavalier remains riveting. At 55, she’s still a dynamo of a dancer, less extreme than back in the day (no air pirouettes) but as focused and as fierce. Continue Reading
The Moscow State Music Theatre’s staging is based on Diaghilev’s opera-ballet version of 1914. This turns the work effectively into a ballet, with the chorus and solo singers, the latter in evening dress, relegated to standing on the side.