A quiet oasis of tranquillity nestles underneath the imposing presence of the Shard. The King’s College Memorial Gardens are situated in a central courtyard of Guy’s Campus, a surprisingly secluded place j… Continue Reading
Tonight’s short opener, He Lived Next Door, by Ieva Kuniskis, feels like a lost opportunity… Webb is the kind of artist who might get himself a cult following.
Marianela Nuñez throws herself into the role, just as she throws herself into the arms of Federico Bonelli, as young poet Des Grieux, and they make slick work of MacMillan’s tricky lifts and romantic, lilting phrases.
It was not until the bedroom pas de deux that this decorous couple truly relaxed. Roughly halfway through it, something suddenly clicked, from which point they shared an utterly believable passion.
Manon, a worldwide hit, turns 40 this year. MacMillan created it for The Royal Ballet, which celebrates with a long run and upcoming debuts in the coveted leading role, including Russian superstar Natalia Osipova and one-to-watch Francesca Hayward.
Set in an unspecified time, it’s a stark world of corrugated metal walls where the black-clad Capulet gang patrol ominously on Segways.
The final image, in which all of Verona lies down in mourning for Romeo and Juliet, raising their legs in imitation of the lovers final pose, may be one of the oddest images you will see on stage. But it is vintage Ek in its power to haunt, to unsettle and to move.
The whole thing is danced with passion and panache, never more so than by Ana Laguna as the watchful nurse. Her scene with Mercutio and Benvolio, where she makes them jump over one another like circus tumblers, is the comic relief before the grim resolution…
There is much to admire in the ingenuity of Ek's interpretation, not least in the intriguing imagery that makes this a compelling - if not also, often infuriating - spectacle. Continue Reading
'The Five and the Prophecy of Prana', Boy Blue’s epic production combining hip hop, martial arts and manga inspired video animation is back at the Barbican. Lyndsey Winship talks to its creators... Continue Reading
Like his mentor, Ross uses rich choreography to tell vivid stories and his three part showcase at Hackney Empire is a diverse mix of abstract, funny and hard-hitting dance. Continue Reading
More tightly integrated than their previous outing, there is an organic, holistic feel to this triple bill, as if each choreographer worked from the same blueprint
…they all seem to feature an awful lot of what I can only describe as slow unfolding, in which these muscular young men pour themselves over each other’s bodies with admirable weightless fluidity. It looks very nice but it is not quite enough.