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
Zoë Hewitt
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.
Fragments and collisions: We Should Have Never Walked On The Moon
A collaborative exploration of fragmented narratives and contemporary desires, it unfolded as a deliberately fractured whole across multiple spaces
Brigadoon: a Highland dream reawakened
McOnie’s dance drives the production, with sweeping ensemble sections, duets, and shifting formations that dazzle the eye.
The irreplaceable craft of a true performer: Tiler Peck in Little Dancer
Even during the most intense emotional sequences, Peck danced with control, intention, and above all, presence.