Reviews

  1. Review: German Cornejo and Gisela Galeassi - Tango Fire - Peacock Theatre

    Vikki Jane Broad, Wednesday 1 February 2017 — Performance:

    Tango Fire is undoubtedly a an enticing and sizzling display filled with a blur of fast footwork from end to end with every couple bringing a different dynamic to the stage. Cornejo’s fans were certainly ve… Continue Reading

  2. English National Ballet - Giselle - London Coliseum

    Press Review 4, Evening Standard, Monday 30 January 2017Performance

    A traditional production with a beautiful central performance. the story of a peasant girl who dies of a broken heart when betrayed by her nobleman lover (don't worry, it all comes back to haunt him), but whatever the age, Giselle can be a ballet of great power, espe… 

  3. Wayne McGregor - Woolf Works - Royal Opera House

    Press Review 4Jane Shilling, The Telegraph, Monday 30 January 2017Performance

    McGregor’s choreography plangently suggests the fleeting passage of life and light, until the final, inexorable darkness that ends a work whose subtle play of intellect and emotion make it, not merely a beautiful exercise in narrative metamorphosis, but a meditation… 

  4. Royal Ballet - Les Enfants Terribles – Barbican

    Press Review 3Mark Monahan, The Telegraph, Monday 30 January 2017Performance

    Moreover, Glass’s unusually spiky score – for just three pianos – is less immersive than you might hope...De Frutos’s enjoyably impish dash of Last Supper imagery in the latter stages. But it all ultimately feels remote: an intriguing and mildy out… 

  5. Dewey Dell - Marzo - The Pit, Barbican

    Press Review 2, The Observer , Monday 30 January 2017Performance

    The piece is dreamily surreal. Teodora Castellucci’s choreography has a simplistic, counter-gravitational quality to it that melds seamlessly with Demetrio Castellucci’s crunching electronic score (Teodora and Demetrio are brother and sister; a third sibling, … 

  6. Dancing Bear, Dancing Bear - Camden People’s Theatre

    Press Review 3Lyn Gardner, The Guardian, Monday 30 January 2017Performance

    It begins with the men completely naked – so we can be in no doubt of their sex – but gradually boundaries blur as gender is performed, and emotional coercion and physical control come to the fore. Ryan and Evans respond to Ringham’s voice. Who controls … 

  7. Royal Ballet - Les Enfants Terribles – Barbican

    Press Review 3Judith Mackrell, The Guardian, Monday 30 January 2017Performance

    Yet despite the best efforts of De Frutos and his team, there are real problems with the opera itself. Its music, scored for thee pianos, drives a compelling emotional pulse, yet the vocal lines are often strangely inexpressive and the work’s dramatic pace veers odd… 

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