Reviews

  1. Companhia de Dança Deborah Colker in Knot at Barbican Theatre

    Press Review Zoë Anderson, Independent, Friday 28 April 2006Performance 25 - 29 April.06

    “Colker’s athletic choreography is oddly aimless.”  

  2. Companhia de Dança Deborah Colker in Knot at Barbican Theatre

    Press Review Elena Seymenliyska, Telegraph, Friday 28 April 2006Performance 25 - 29 April.06

    “The result is exhilarating, intense and, at times, uncomfortable, a highly charged exposé of sexual dynamics.” 

  3. Royal Ballet in Giselle at Royal Opera House

    Press Review Debra Craine, Times, Wednesday 26 April 2006Performance 15-29 April

    ‘Now that Jonathan Cope has retired, Edward Watson is the only British male principal left at the Royal Ballet. And although he’s made his mark in a variety of 20th-century roles, this performance of Giselle was his first appearance as a 19th-century leadi… 

  4. Angika in Ether at Croydon Clocktower and touring

    Press Review Luke Jennings, Observer, Wednesday 26 April 2006Performance

    ‘…this turned out to be one of the most consistently thrilling evenings of dance I’ve seen all year.’ 

  5. Review: Aurélien Bory/Hammich family in Taoub at Queen Elizabeth Hall

    Jenny Gilbert, Wednesday 26 April 2006 — Performance:

    ‘…a seamless 70-minute spectacle that makes use of a large swathe of Arabic fabric in distinctly new-circus ways..’ Continue Reading

  6. Review: Aurélien Bory/Hammich family in Taoub at Queen Elizabeth Hall

    Luke Jennings, Wednesday 26 April 2006 — Performance:

    ‘Taoub is performed with earnestness, charm, and a refreshing lack of technical refinement..’ Continue Reading

  7. Aurélien Bory/Hammich family in Taoub at Queen Elizabeth Hall

    Press Review Ismene Brown, Telegraph, Wednesday 26 April 2006Performance

    ‘The charm of this show is that it brings that atmosphere of casual bravura into the theatre, adding more sophisticated effects with material and lighting that enhance the group’s fine skills without detracting from the ageless innocence of the tradition.’ 

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