David Mead
Charged and taut: Stuttgart Ballet in Louis Stiens’ Messenger
Fluid floorwork combined with balletic precision
New York City Ballet cancels Nutcracker
The show is the company’s most lucrative ballet, earning over $15 million annually
Impressions of Lorca’s The House of Bernarda Elba: Waiting for Pepe by Carlos Pons Guerra
Repression, conformity and suppressed desire
Stuttgart Ballet and Gauthier Dance announce plans as live dance returns to the city
A new mixed programme in July in the Opera House, with an audience
Beautifully appealing: Dance Theatre of Harlem in Vessels
Grace of the performers, flow of the choreography
Very real, very relevant, very convincing: Dance Theatre of Harlem’s Creole Giselle
The ballet is so fresh