Extraordinary backbreaking lifts – one man supporting the two others – and Osipova curling herself backwards into an almost perfect c-shape are just two of the highlights. The rising wail of Sufi singers adds to the heady, perfumed physicality.
Consummate storytellers, Cherkaoui and Osipova are well suited; his theatrical style gives her plenty of material to work with and her flawless control gives his movements a heightened feel.
Alice Westoby spoke to performers Joel & Laura and Artistic Co-Director Stine, at the performance of their duet 'You and I Know', as part of Dancing City, Canary Wharf... Continue Reading
It has its moments; there’s a great scene where she’s standing, lost and distraught, at the side of the highway, illuminated by passing headlights. And there’s a sweetly tender sequence on a swing.
There are outstanding moments – lifts in which her exceptional suppleness and strength create the illusion that she’s walking, flying or hovering over her partners’ bodies – but they leave us hungry to see more of what Osipova, and Polunin, might achieve.
Osipova becomes a kind of mesmeric predator, stalking the stage, her arms rippling, crouching and leaping, her loose hair and limbs whipping and scoring space.
Osipova delivers many layers of performance excellence to three very different vehicles.... Some of the movement may feel familiar but the delivery is certainly unique. Continue Reading
From this autumn, a newly revised Diploma in Dance Teaching and Learning (DDTAL) – which is recognised as a route to Qualified Teacher Learning and Skills statu - will be available... Continue Reading
East London Dance, Hofesh Shechter Company, Historic Royal Palaces and LIFT announce plans for 'East Wall' - a long-term talent development project and spectacular performance.... Continue Reading
Hearts and Arrows proliferates, gorgeously, with staggered formations, braided currents, counterpoint and canon. It features superb performances, and comes close to being an excellent piece.
If Millepied’s choreography was an element it would be air, best demonstrated in the short piece Hearts & Arrows, danced to a Philip Glass string quartet. The dancers sweep through phrases with spritely leaps; contemporary dance with ballet’s poise and lightness.
In spite of an agitated liveliness in the movement, neither of these pieces sings with originality. Hearts and Arrows flirts with high-school cheerleading as girls are tossed into the air to the repetitive surge of Philip Glass’ String Quartet No 3 (Mishima)
Millepied’s choreography draws on classical ballet technique, particularly in the footwork. It also suggests the influence of Mark Morris in its springy vocabulary and same sex duets.