She was awarded the CBE for services to Dance and Young People in the New Year's Honours List, 2016. Many former company members have gone on to dance professionally... Continue Reading
Now 67, Alston shows no sign of slowing down. For me, and for others – judging from its reception – An Italian in Madrid is one of the year’s finest new works.
Vidya Patel dances seamlessly among her contemporary counterparts, yet her experience of kathak shines through, in whipping turns and articulate hands.... Continue Reading
Groups, solos and duets break ranks and run forward, flying through space with strong, powerful movement. It’s exciting, fast and punchy, a statement that this long-standing company can still hold its own today.
With a pre-recorded narration from Lindsay Duncan filleted from Duffy’s seductively witty and surreptitiously subversive text, this is high calibre entertainment. Incorporating very young children in the opening scenes as Snow White’s friends and later as forest animals
Patel is an astounding stage presence – spinning soundlessly across a flood of Scarlatti notes, collecting herself into a resonating stillness.
Lorent makes beguiling use of her chorus of children, who tumble across the stage as Snow White’s childhood playmates and as an adorable menagerie of woodland creatures.
The wild card in this triple bill comes from Arthur Pita, a choreographer who does things with ballet you don’t see anywhere else.
Robinson is the staccato dancer par excellence, and Reich’s minimalist composition for glockenspiel and piccolo perfectly sets off her sharply incised line
Muntagirov and Nuñez are technically thrilling; she, at her finest moments, can combine an absolute mastery of the choreography, with the illusion that she’s dancing it for the first time.