American Ballet Theatre: Innovation Past and Present
World premieres by Gemma Bond and Kyle Abraham, whose complex and unpedictable Mercurial Son “has lots to see and lots to like”
World premieres by Gemma Bond and Kyle Abraham, whose complex and unpedictable Mercurial Son “has lots to see and lots to like”
Everywhere We Go is a ballet that’s never forgets its classical roots, but ballet that’s also very ‘of today.’ The sort of ballet that makes you want to return.
Tiler Peck’s Concerto for Two Pianos is an absolute delight. The intelligently structured choreography is as highly-skilled as the dancing
Concerto DSCH… is a perfect closing number. A quite delicious, sensual central pas de deux is bookended by jaunty, fun and upbeat movements.
An often brutal, yet strangely often beautiful in its way, commentary on childhood experiences and feelings; on the youth of today as they struggle
A ballet of fine intentions. A ballet of plenty of fine moments that, at times, is quite powerful. But also one in need of stronger thread to hold it together
Angel’s Atlas by Crystal Pite doesn’t just speak to the viewer, it doesn’t just reach out and touch, it digs deep inside to find the soul.
David Mead talks to Wubkje Kuindersma and Seeta Patel, two of the five female choreographers for BRB’s new ‘Luna’
The opening performance was a triumph for Viola Pantuso in the title role. She felt real. Alert and bright-eyed… always gentle and courteous
Fine, bright, happy dancing, great characterisations, Osbert Lancaster’s brilliantly sunny designs. Even a super-cute pony. A real heart-warming evening.
Ballet returns to the Royal Shakespeare Theatre with Romeo and Juliet. “It’s fabulous to see it again and its Northern Ballet at their best.”