Giselle: a most honest romance
Nuñez’s Giselle looks unusually light within this world. Her peasant dancing is clean and loose, its ease producing flow rather than force
Zoë Hewitt
Snapshots of American Modern Dance: Paul Taylor Dance Company
Across both evenings, dialects shifted quickly, textures changed sharply, and technique kept surfacing as a through-line.
Resolution 26: Hannah Todosijczuk, SynEcho, Kill Your Darlings
The dancers are committed and the themes are ambitious. What I miss is not effort, but clarity.
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.
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