Drew McOnie is a choreographer on a mission to create a new, accessible form of theatre-dance. His new show 'Drunk' opens at the Bridewell Theatre next week... Continue Reading
For this new Channel 4 documentary series Big Ballet, 18 amateur plus-sized dancers were selected from 500 to master Swan Lake in 20 weekends under instruction from former Royal Ballet principal Wayne Sleep. Continue Reading
In almost every review of 'Apocrifu' the main focus has been on the three dancers but it is the magnificent seven of the polyphonic Corsican choir, A Filetta, that kept taking my breath away... Continue Reading
'Tougher than he looks', the Royal Ballet's poster boy Edward Watson reveals his battle scars as he talks to The Telegraph about his intentions to keep dancing for as long as he can. Continue Reading
Other works also suffer from the bitty, crowded format: too many semi-naked men emoting to classical music starts to become a blur of homoerotic schmaltz.But when the evening is good, it’s very good.
In spite of cursory references to Partition and the “circle of life” this is really just an excuse for a succession of breezy dance numbers that owe more to 1970s, disco than anything authentically ethnic… but the sheer delirium of the hilariously lip…
The ambiguity of enfant makes it endlessly fascinating. At a time when adults have become too scared to handle children in case they are accused of inappropriate behaviour, witnessing so much hands-on manipulation is refreshing as well as troubling.
Boris Charmatz is well established in his native France as a conceptual choreographer who is interested in subversion and turning ideas in on themselves. Here it’s the nature of childhood, our agency over our bodies and probably some other stuff that’s not very clear.
enfant is a work about transformations of energy and power… as the children awake and… start to make an impact on the action, goading the adults into a strutting, kicking, racing whirl of activity. The children are brilliant – ferocious, funny, joyous and…
The chief risk with any dance film is that the director’s roving eye will not focus on the moments that matter… However, director Ross McGibbon… hardly missed a trick… he was willing to sacrifice the occasional establishing shot in order to close in…
Liam Scarlett, be it unequivocally said, has a fine, clear talent… His plotless works know the truth of ballet’s traditions – his first creations at Covent Garden won my (and every other observer’s) heart, and promise a future for our national troupe.