‘What Kind of Slave Would I be?’ pictures how traumatic and indelible experience slavery is, regardless of its kind. Thanks to her twin talents of daring and opposing fear, Minott takes us on a journe… Continue Reading
When I walked in to that studio, that first day, everyone was spinning and jumping, and leaping through the air. My mouth was open, my heart was beating fast, and I vowed that day to never stop dancing. Continue Reading
Rosie Kay’s weird language is well developed and her iconoclastic skills powerful. In the post-show talk led by Luke Jennings, Kay and Adam Curtis encouraged us to anticipate MK ULTRA as the wider picture o… Continue Reading
News: Event: Conversation with Alistair Spalding, CBE, Artistic Director and Chief Executive of Sadler's Wells
Monday 15 May, 7.30 pm – 8.30 pmAn evening talk with Alistair Spalding, CBE, Artistic Director and Chief Executive of Sadler's Wells at the "London ballet Circle Continue Reading
Interview: Si Rawlinson - 'The awkwardness and incapacity of well-meaning people too often gets in the way of urgent social action'
We talk to Si Rawlinson about his work Inherent, which explores the discussion about racism as a white man. Continue Reading
Interview: Naomi Tadevossian - 'It definitely is fun, hurtling and sliding down the set, but it’s also as scary as it looks.'
We talk to Naomi Tadevossian, a dancer with Motionhouse, about performing with the groundbreaking curved set from Scattered. Continue Reading
Witnessing a clear story telling prowess, I welcome the opportunity to see more of this collaboration that also asks the audience to think beyond classic European dance and dance theatre, to see the nurturing mix… Continue Reading
Betroffenheit is a masterpiece. Theatre, dance, spoken word, song, set design (by Jay Gower Taylor), soundscape (by Owen Belton, Alessandro Juliani and Meg Roe), costumes (by Nancy Bryant), lighting (by Tom Visse… Continue Reading
Droll, daft and delightful, as pat and fun as triplet alliteration, Early Adventures provides the guffaws we so need, and is a cheering example of work from a choreographer understandably beloved. Continue Reading