Sparkling: The Royal Ballet in Cinderella
Anna Rose O’Sullivan projected a gentle, modest, sweet Cinderella… her dance with the broom was wonderfully wistful and full of longing
Anna Rose O’Sullivan projected a gentle, modest, sweet Cinderella… her dance with the broom was wonderfully wistful and full of longing
There are plenty of the usual handstands and tumbling… But what is really memorable is the ease with which the performers fly through the air.
This much needed new production looks a treat… Paul Pyant’s video design is very good… Dick Bird’s sets are glorious… Act Two is a riot of colour
Creates a fantasy of world that delights and entertains from start to finish with its fine storytelling, choreography… and a lot of excellent dancing.
Most magnificent of all, is Harrison Dowzell as The Swan… Quite unforgettable. Whether in bird form… or as The Stranger at the Act 3 ball
A cloud makes its way towards the audience, soon enveloping us in its misty grip. Through the fog are glimpsed figures, human, but…
When the assured Riho Sakamoto first stepped out of her home as Giselle, she didn’t so much skip round the stage as fly.
About movement to music and nothing else. There’s no hidden theme, no hidden meaning. It’s even performed in simple white tops and trousers.
The fascinating collage of scenes and sounds engaged fully, watched over not only by the audience but by the rows of portraits that line the gallery’s walls
“2 Chapters Love may be full of ‘classic’ Eyal but, in many ways, it also feels very much an ode to classical ballet.” Plus Sol Léon’s Stars Like Moths.
The fourth of Sharon Eyal and partner Gai Behar’s work to be danced by the Staatsballett, SAABA is different. Behar’s choreography feels more dreamy.