Wayne McGregor’s new piece, 'Obsidian Tear', is the first Royal Ballet piece to have been created on an all-male cast... It’s a curious piece, flitting between robust maleness, cool androgyn… Continue Reading
Lengths of paper are taped to two of the walls while a screen covers the third. Centre stage is a trolley bearing a video camera and projector while two tea chests, a gorilla suit and a red puffer jacket complete… Continue Reading
dotdotdot’s interrogations are intelligent, refreshing and compelling to watch - the dancers thrill through their obvious love and understanding of this form. Continue Reading
Like The National Theatre of Brent, he can shift tone in the blink of an eye – the madcap humour suddenly gives way to a moment of explosive anger or breath-stopping poignancy; he creates an epic battle with a red spotlight and fans, vocalising his own sound effects.
Anyone who has seen Cunningham dance, and admired her meticulous accuracy and classical grace, might be surprised to see her tackling the ferocious furnace of language, hip-hop rhythms and archaic prosody that characterise the poetry of Tempest.
Watkins sets up defined lexicons for each type of character. It’s a little restrictive but wins on clarity.
The combination of shameless sexuality, parodic classicism, quirky humour and Edward Gorey gothic is parlayed seamlessly by dancers apparently made of India rubber
Van Manen gives us flurries of stage-skimming terre-à-terre, taut-sprung reverses, skittering turns. Steps glint and ricochet like beads cascading from a broken necklace
A robust programme, while being overwhelming in the number of works it includes, nevertheless wins prizes for variety, stellar dancing and sensational stage design. Continue Reading
Cesar Corrales scooped English National Ballet's Emerging Dancer Award last night... Continue Reading