Clara Gibson Maxwell: Dancing on the Edge
A new book looking at the work of a choreographer who has largely avoided the mainstream, her creations, inspired by myriad influences, tending towards the experimental.
David Mead
Greenwich+Docklands International Festival: Dancing City
Certainly brought the crowds out. The free and unticketed performances at the Queen Elizabeth Olympic Park were packed out, with people taking every possible vantage point.
San Francisco Ballet in Aszure Barton’s Mere Mortals
The dancing is powerful, the ensemble injecting a sense of great scale. As befits a work inspired by technological developments. the backing projections are impressive. The score by Sam Shepherd (aka Floating Points) is terrific
For choreographer Micaela Taylor, it’s all about rhythm
A conversation with Micaela Taylor about her work and her new ballet, ‘Bow Out’, part of English National Ballet’s forthcoming Rhythm Riot programme
Something special. César Morales Anderson on Ballet de Santiago and Swan Lake
September 2027 sees the UK debut of Ballet de Santiago in Ivan Nagy’s Swan Lake. Artistic director and former Birmingham Royal Ballet principal César Morales Anderson talks with David Mead about the company, the ballet, and becoming a director.
Dance, film, collaboration, community: Ekleido at Harbour House
Following a live performance in the town, an exhibition in KIngsbridge, South Devon encourages all to come and explore Ekleido’s movement, choreographic ideas and creative process
Carlos Acosta: Myths and Modern Masters
Myths and Modern Masters is not only about Acosta himself. It’s just as much a celebration of the talent at the two companies he leads.
Wuji Dance Company: I Don’t Care by Jie Zhou
Not the exclamation of a recalcitrant teen but a new dance-theatre work by Jie Zhou (周婕) that reflects on how dress, profession, societal and social expectations shape how we see ourselves and are seen by others, and can stop us leading a fuller life.
A rollercoaster ride: Matthew Bourne’s The Car Man
It may be 26 years young, but Matthew Bourne’s The Car Man is still packing audiences in, taking them on a supercharged ride.
Screen, dance, screendance
David Mead considers the nature of screendance as he looks at four works by Singaporean director Brian Toh.
The Royal Ballet School Summer Performance
Time and again the young dancers rose marvellously to the pressure of the occasion in what was a wonderful display of skill and talent. It was also a hugely enjoyable performance choreographically.