A series of short numbers set to a gospel and blues soundtrack, this Ailey staple first performed in 1960, still has an irrepressible joie de vivre.
The most influential people in dance in London during 2016 have been named in this year’s 'The Progress 1000'. Continue Reading
There’s a wonderful richness to the way they move: grand scale and velvety softness, shared conviction and plenty of individual personality.
The dancers trace elaborate ronds de jambe, whip into pirouettes, shimmer like fireflies evading the dawn. Taylor’s choreography is so sharp-edged, so glittering with mordant observation, that you dare not blink.
Taylor is a veteran master of American modern dance, and this work shows why.
Cunningham and Curtis disrupt the traditional, linear performance, turn it inside out making it messy, interactive and philosophical... Continue Reading
After nine years in the role, Kenneth is moving on: "It has been a great privilege to serve the organisation that helped to shape me as an artist and to work alongside so many deeply committed and talented c… Continue Reading
Across four programmes in this London season they perform 10 different works, touching on ritual and lamentation, spirituality, celebration and infectious grooves
Three A’s stand proudly at the front of the acronym that identifies this extraordinary company: they represent the late Alvin Ailey and America but they should also be seen as a permanent triple A-star rating. Continue Reading
But the partnership of Akua Noni Parker and Jamar Roberts is entirely splendid on its own terms. Parker matches Roberts in the force and scale of her dancing, and together they recalibrate the material’s classicism to their own raptly sensuous style.
She floats on his back as he wheels across the floor, their hands dance on the table top in an intimate exhibition of a larger physical embrace
The SPBT dancers are well-trained, and many are impressive. Akulinin has style and panache to spare, Kovalev is brawny and unambiguously villainous; both project old-school Russian-balletic virility.
. . . the storytelling is simplistically (and pleasingly) clear, with straight-backed police officers, kindly volunteers with arms wafting like doves of peace, and a peppy press corps, looking self-satisfied as the refugees pour out their stories from twisted bodies.
While there is no doubting her technical prowess – she is as comfortable en pointe as most of us are slouched in an armchair – there is a soulless narcissism about her performance that keeps the audience at arm’s length.