The Royal Ballet’s The Nutcracker
At the curtain call, the audience greets Sir Peter Wright, his 99th birthday days away. Fiction and reality touch lightly. The ballet’s tradition no longer distant.
Zoe Hewitt
On the Other Earth: The Digital Dream
High-tech projectors pulse like a digital nervous system. This is choreographer Wayne McGregor’s rabbit hole, his twenty-first-century Alice in Wonderland.
Justin Talplacido Shoulder: ANITO
The programme promises ‘dance theatre.’ What unfolds is closer to an ecological fever dream.
When technology learns to see – Wayne McGregor: Infinite Bodies
The true subject of Infinite Bodies is not technology but seeing itself. AI is not only creating art; it is learning to see
Akram Khan Company in Thikra: Night of Remembering
Movement is precise, the ensemble formidable. Hair lashes through the air, sound rises from the floor, drums and chanting mix with the dry friction of sand
La Fille mal gardée: Frederick Ashton’s sunshine ballet
When Marianela Nuñez stepped on stage, it was instantly clear that she was not pretending to be Lise, she was Lise.
Ben Duke, Artist Encounters: Making Text Move
He does not speak so much as perform. His body moves faster than his words, revealing that his mind is running at least ten thoughts at once
The Royal Ballet: Like Water for Chocolate
As entertainment, Like Water for Chocolate succeeds. It is a rich, magical, exotic tragedy. But in terms of substance, it remains at the surface.
Sidi Larbi Cherkaoui / Eastman: Vlaemsch (chez moi)
Picasso bent women with a brush. Holbein crushed ambassadors with a skull. Cherkaoui piles his house with dancers, books, frames, bones.
A Freudian dream: Dance Company Lasta in Naraku
From the outset the piece establishes a dissonant texture, as if pulling the audience into the fissure of a dream
Dancing City: A tapestry of crossings and contradictions
Swedish minimalism brushed against Colombian carnival, French surrealism met British street energy, children’s laughter cut through adult abstraction.