. . . the storytelling is simplistically (and pleasingly) clear, with straight-backed police officers, kindly volunteers with arms wafting like doves of peace, and a peppy press corps, looking self-satisfied as the refugees pour out their stories from twisted bodies.
While there is no doubting her technical prowess – she is as comfortable en pointe as most of us are slouched in an armchair – there is a soulless narcissism about her performance that keeps the audience at arm’s length.
Is making a ballet the right response to Europe’s refugee crisis? After visiting refugees in the Balkans with Oxfam, Russian ballerina Irina Kolesnikova thought so. She and choreographer Olga Kostel have set their retelling of Carmen in a refugee camp to bring atte…
Performance reviewed: 17 August, matinee You can barely see a thing in the dim London Wonderground Spiegeltent, coming in out of the boiling sun. Usually the place for raucous cabaret, it’s an unexpected venue… Continue Reading
The classes of Director Xin Lili are exceptionally challenging and so it comes as no surprise to witness the all-around technical strength throughout the company.... Continue Reading
All-male contemporary dance/theatre company ZoieLogic Dance Theatre has been selected to receive a prestigious Elevate Award from Arts Council England which substantially increases its funding status Continue Reading
The dancers are little short of astonishing. Combining elements of tai chi with occasional flying leaps and the fierce power of bodies anchored to the ground, there are passages of ethereal gracefulness and athletic energy.
There’s impressive work from the small cast, creating characters and scenes with little in the way of set or props on the small thrust stage of the Spiegeltent
The Act II jardin animé sequence, in which the company forms a complexity of patterns while holding miniature rose arbours, is a sublime spectacle, almost worth the price of admission alone.
The Guardian's Judith Mackrell features '52 Portraits', a digital project by Jonathan Burrows, Hugo Glendinning and Matteo Fargion . . . Continue Reading
“How can classical ballet be turned into a playground, or rather a battlefield, where the individual and the group meet?” This, according to the company website, is what the Ballet National de Marseil… Continue Reading
Periodic visits from The Bolshoi Ballet have enlivened and enriched the London Summer over the past 60 years. These visits by the biggest and brashest of the world’s great ballet companies have invariably b… Continue Reading