Classicism to the fore at the John Cranko School Matinée
Top quality dancing… But perhaps best of all, everything was very classically rooted, with pointework very much to the fore for the women.
Top quality dancing… But perhaps best of all, everything was very classically rooted, with pointework very much to the fore for the women.
Invariably a wonderful evening’s dance… this year’s gala was also a farewell, and a thank you, to outgoing artistic director Bridget Breiner
Perhaps it’s best not to overthink it and rather just sit back and enjoy the fine dancing and the many nuances in the work’s sometimes strange imagery
It may be abstract in the sense of being non-narrative… but Dawson’s choreography and the company’s dancing reached inside and touched the soul
Excellent dancing, good choreography, efficient storytelling. And specially commissioned music. All rather impressive for a first outing by Ballet MAR
The standard was uniformly high although, as in the past couple of years, it was the men, who got two pieces all to themselves, who thrilled
Forget any preconceptions you might have about ‘children’s ballet’… a stunningly professional show… a super evening’s entertainment.
Ahead of its extensive UK and overseas tour, David Mead talks to London City Ballet artistic director Chris Marney about the company’s relaunch.
What one remembers from this Carmen are the ensemble scenes. I don’t know what they were on, but their energy and stamina were incredible
The highlight was Olivia Chang-Clarke’s new Melody in Three. While classical through and through, dotted throughout are quirky moments that make you smile
The ensemble of eight graduate dancers aged 18-23… brims with talent… a fabulous evening, one filled with energy, passion and fine dancing.