There are moments of quiet beauty, dynamic energy and sculptural heft, but all in all, this piece feels like lots of sections of material developed in rehearsal and strung together in no particular order, with no sense of a greater arc or structure.
The Rodin Project draws to a close with two stand-out, powerful dance sequences that I defy to be bettered by anything else we see on stage this year... Continue Reading
…some of the most beautiful images and profound ideas I’ve experienced in dance this year.
The work drifts slightly during its central slow duet, but I love the fact that Bintley takes his choreography to a place where the women are as strong as the men.
From the sprinting dancers of David Bintley’s Faster to the flitting Shakespearean fairies of The Dream, this is a company in exuberant form.
For Sharon Watson's first Phoenix outing to the capital city as Artistic Director, she presents pieces that the company has performed all year, showing off her troupe of dancers remarkably well. Continue Reading
David Bintley's homage to the Olympics ['Faster'] is quite possibly the best attempt to portray the essence of sporting endeavour in dance that I have seen... Continue Reading
And at last, Ashton’s The Dream, with Birmingham’s dancers on best form, playing with delightful enthusiasm, bring this masterpiece to happy life.
For Clark, today, the realm of unbounded expression is a place of danger, a badland without co-ordinates from which you might never emerge.
By contrast, the dancers seemed to be in their element in Soundclash, a clubby, hip hop workout credited to “Kwesi Johnson and the cast”.