On the night when at least 27 million of us watched the Olympic Opening Ceremony, how many would turn up at the London Coliseum to see the concluding part of the Schaufuss Tchaikovsky trilogy? Continue Reading
It was hampered by a taped score, by dodgy choreography and by some sheets of crackling perspex that creaked across the stage whenever the action shifted into the sphere of dreams.
Performance reviewed: 24 July The Schaufuss trilogy of Tchaikovsky ballets begins to take a more coherent shape after this second part. A baton has been handed on from the first ballet ( Swan Lake) such that S… Continue Reading
The concept of turning the three Tchaikovsky ballets into a triptych has promise. But the gulf between this good idea and the successful delivery of this first part of the trilogy turns out to be as huge as the … Continue Reading
But anyone who messes with a classic has to know clearly what they’re doing, and have the resources to do it. Schaufuss fails on both counts.
But with the audience up close and on all sides, this staging also highlights human detail: the sense of feminine complicity, the alternately girly and boyish looks imparted by costume (swishy skirts, plain trousers) or gesture
It’s quite simply the most exciting new triple bill in memory. What a way to go.
As with all Bourne’s best work, the detail and the humour is delicious. A game of charades, crisply timed to Terry Davies’s fabulous jazz score, is alone worth the price of the ticket.
My energy is boosted by the vast number of dancers & I can’t seem to wipe this smile off my face! It must be the biggest audience I will ever perform for & the largest group of dancers I will be a … Continue Reading
Tate Modern's new subterranean space - The Tanks - make a surprisingly sympathetic place to get to know de Keersmaeker's work afresh – and perhaps even attract some new fans. Continue Reading