Dramatic and intense: Scottish Ballet’s The Crucible
The dramaturgy is excellent. If the success of a ballet is judged by how easy it is to follow without reading the synopsis, it is a winner.
The dramaturgy is excellent. If the success of a ballet is judged by how easy it is to follow without reading the synopsis, it is a winner.
Classical ballet dominates even more than usual, although this is likely a consequence of the unique circumstances of the year.
“Trying to expand the range of work, having a whole range of experiences that pushes the art form forward, I think is crucial to us going forward.”
A varied triple bill of works by Yin Yue, Barkha Patel and eddy kwon that all combine the contemporary with the traditional
It really does feel like the performers and rice are engaged in a duet… Our Labyrinth creates a sense of peace. It is a very absorbing experience.
While most sections capture the attention, the way the work wanders around with little obvious link between them, makes life difficult for the viewer
Features the intensity of Shechter’s signature ensemble work to an eclectic score that runs from his own throbbing creations to J.S Bach and Frank Sinatra
Drama and humour, a clear narrative, great characterisations, excellent corps de ballet scenes, and in Annalise Wainwright-Jones, a wonderful Anne
A conversation with New English Ballet Theatre founder and artistic director Karen Pilkington-Miksa about the company’s summer 2022 season.
A sometimes gritty and thought-provoking evening, but also one that ends colourfully and joyously
It really does look a picture. Jérôme Kaplan’s set designs are simple yet evoke brilliantly. The music too, is an absolute delight…