In Paulina, Wheeldon may possibly have created one of the great characters in ballet, her dignified, tender choreography charged with the sense that this is a woman of magical powers.
It is in the second act that Wheeldon’s choreography sheds the character-driven necessities and is allowed to soar as pure dance... Continue Reading
This theme of separation and rejoining, of yo-yo-ing back and forth was recurring as the audience were dragged between realistic and surreal moments, trying to keep up with the pace at which Lok’s mind deci… Continue Reading
The choreographic structure established a seamless flow of danced episodes, maintaining a momentum that never let up over the course of an hour... Continue Reading
A few dancers pick out a loose-limbed module of movement, leaping in tandem and sweeping across the stage, punctuating the air with delicate inflections of their wrists and fingers.
While all the company members are skilled in the art of engaging the audience with a look or a wiggle, a precocious star-turn from Odilon Pindat – as the leather lingerie-clad flyer in a human catapult – soars toward the divine.