Resolution 26: ZhouXin Theater, Babyteeth, DREAM
All three pieces show performers with ability and intent, but none of them offers a thread I can follow.
Zoë Hewitt
Akram Khan’s Giselle: a ballet about being moved
Even the afterlife offers no freedom, only a different choreography of obedience. In this Giselle, death is not release. It is relocation.
An Evening with Matthew Ball
“…Resists easy categorisation. Neither performance nor talk, it functions as a self-portrait in transition, part experiment, part public reckoning.”
Mountains and Seas – Song of Today
The ambitions of the creative team are unmistakable, and the sparks within these fragments may yet find a more cohesive form.
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.
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