The two main conclusions about Wheeldon’s ballet remain: it’s stunning to look at, with eye-popping designs by Bob Crowley, but the episodic source material doesn’t provide a satisfying narrative and Wheeldon doesn’t really find a way around that.
Performance reviewed: 6 December Is it a ballet or is it a variety show? It’s a question often asked about Christopher Wheeldon’s first full length commission for the Royal Ballet (and the company’s fi… Continue Reading
Review: Phoenix Dance Theatre - Mapping / Shadows / Shift / Document - Linbury Studio Theatre, Royal Opera House
- an excellent balance of thematic relevance coupled with dramatic and choreographic variety. Continue Reading
It is absurdist, often dark, occasionally Kafka-esque. Wheeldon does not shy away from this – the sausage-making scene in the Cook’s kitchen is straight out of Sweeney Todd, and the axe-wielding lunacy of the Queen of Hearts creates a real sense of jeopardy.
The Snowman is now on its seventeenth annual visit to London’s Peacock Theatre. It’s as crucial to Christmas as mince pies. Dislike it, and Santa won’t come. And yet myself and my four-year-old daughter – the target age if the Saturday morning audience demographi…