Next Thursday (6 June) the Mariinsky Ballet's 'Swan Lake' will be filmed in 3D and beamed from St Petersburg to cinemas around the world. The UK's Ross MacGibbon will be directing... Continue Reading
Only the faintest traces of Rite remain – an echo in the music, dancers flailing in a circle – yet Khan captures the essence and spirit of Stravinsky’s pagan whirlwind with remarkable sensitivity. It’s as if he’s channelling the great man himself.
iTMOi – a torturous acronym for In The Mind Of Igor – is a bold but flawed attempt to do the impossible: to fathom, on stage, how Stravinsky came to create The Rite of Spring, the half-hour composition that changed music for ever.
All of which is bubbling away in Wayne McGregor’s flawed but fascinating new work. His first narrative ballet, constructed from Audrey Niffenegger’s graphic novel and held aloft by film composer Gabriel Yared’s eclectic score, is a mélange of the bea…
There is much to admire here (and let’s say hurrah for upturning the way that it’s always the young woman who gets sacrificed) but this is a work that leaves impressions rather than searing indentations.
It’s not another riot, but remains atmospheric and strongly danced.
And while iTMOi is a far from perfect work, fractured and oddly paced, it is through Khan’s shockingly imagined chaos that we’re drawn into the creative maelstrom from which art is born.
Sergei Polunin was in London this week to confirm that he will be appearing at the London Coliseum with the Moscow Stanislavsky Ballet in Roland Petit’s 1975 version of Coppélia, in July. The star Ukranian da… Continue Reading
There’s more to think about than in your average Swan Lake but it’s narratively unsatisfying. It feels like no other ballet, though, and that’s an artistic accolade.
Sarah Lamb as the Girl is outstanding: fearless in her battle with gravity, yet with a core of bewildered vulnerability that evokes a 21st-century Odette.
Two contrasting single act ballets - the deep, dark, soporific expressionism of McGregor long overstays its welcome; the glittering, effervescent, uplifting romance of Balanchine leaves one wanting more.. Continue Reading
Like its heroine, the new collaboration between choreographer Wayne McGregor and author Audrey Niffenegger is neither one thing nor the other. Caught between worlds, the ballet has striking elements but doesn’t take flight.
Marston is prolific, and her experience shows in the sophisticated structure of the piece, which was created from a scenario devised by herself and the theatre director Edward Kemp.