Despite my reservations about the music and some aspects of the design, this is a fine addition to The Royal Ballet’s repertoire, which has taken on the near impossible task of conveying one of Shakespeare&… Continue Reading
The vocabulary of movements cycles almost imperceptibly from abstractly stuttering palsy to clearly representational scenes of an absurd, twisted nature, presented with clownish playfulness & expert manipulat… Continue Reading
The dancers are committed and able, and do their best with the material, but the action is muddled, the ideas unclear, and the choreography an over-wrought and dated hybrid of classicism and quirkiness.
…the gritty yet highly stylised 90-minute performance possessed a level of kinetic integrity and emotional truth that lifted it well out of the ordinary.
The transformation of this ugliness is Platel’s achievement: tauberbach is richly able to find and expose the beauty in what is not conventionally considered beautiful, and in so doing it argues forcefully for the importance of what – and who – is not conventiona…
This is a lot of story to tell, and Maillot choreographs it at a ferocious lick – a fusion of neoclassical and modern steps tumbling across the stage. Impressively he infuses the dancing with vividly pointed character detail, and the superb Monte-Carlo dancers work t…
Kaylee Marko’s Swanilda has neat feet and pretty manners, and Marcio Teixera makes an amiable Franz. Sadly, the entire delightful enterprise has been derailed, yet again, by the insistence on an on-stage narrator, in the shape of batty old toymaker Dr Coppelius.