Admired but never quite embraced by audiences, The Prince of The Pagodas has what can only be described as an awkward performance history. First commissioned in 1957 by Royal Ballet founder Dame Ninette de Valoi… Continue Reading
Tony Hall, the Director-General of the BBC, has been awarded an Honorary fellowship by Trinity Laban Conservatoire of Music and Dance in recognition of his services to the arts and education. Previously the Chi… Continue Reading
It sounds like the stuff of torture rather than entertainment – but Finnish circus artists, Sanja Kosonen and Elice Abonce Muhonen are determined to bring back the traditional art of hair-hanging. Continue Reading
The show has its heartstopping moments when it seems as if somebody might be about to get their brains knocked out by flying metal, or as they leap off the swing and catapult through the air before landing with a thud that is almost as impressive as the flying itself.
In Tabac Rouge, it’s all flimflam, because behind the face-pulling, the convoluted sets, and the rushing about, there’s nothing. No theme, no conceptual thread, no idea.
Making his debut with the Royal, Vadim Muntagirov creates a startlingly effective character out of the dutiful Florimund, his bred in-the-bone hauteur softened by a Romantic melancholy. Muntagirov looks and dances like a man in love.
This pack – five Frenchmen and a Spaniard – are all friends who trained together in Paris and Stockholm. They exude a certain familiarity with each other that extends to landing somersaults – eek – on each other’s groins, and show what can be …
Researchers at Northumbria University and the University of Gottingen have discovered the secret to looking good on the dancefloor – at least as far as British men are concerned. And the results, rated by … Continue Reading
BRB’s David Bintley tries his best to make choreographic sense of the music and succeeds better than many but it’s a wonky work, with stunning passages undermined by longeurs and cliched sequences where his inventiveness fails him due to the lack of musical…
"For me, the art of ballet is not just a set of movements to the music but a mystical spiritual act" Continue Reading
Stars of the show: a sassy octopus, four dancing seahorses and everything touched by the hand of designer Rae Smith. Come for the luscious visuals, forget about the silly storyline — it’s that sort of ballet.
Britten’s often delicate orchestration always seems best set off by just one or two sets of limbs. The best variations are for a series of effeminate yet animalistic male characters, the King of the East, the Prince as Salamander,the Seahorses and the spiny Deep-Sea …
Bintley’s Pagodas is dragged along by its score, and the choreographer’s skills are chained both to the original narrative (which Bintley adapts but cannot cure) and to dances that must go on because Britten does.
…impressively large scale, yet thematically opaque, a beautiful beast of a show that claims a host of contradictory qualities. It’s dark, heavy and bleak, but with an ability to allure and dazzle even as it does its best to disturb and alienate us.
Even as the dancers execute dizzying B-boy spins, or shatter the space with punches and kicks, the music emphasises the beguiling lift and grace of their moves over their raw visceral impact.