A dip into Berlin’s Tanz im August 2023
In ‘The Romeo’, Trajal Harrell combines voguing with bizarre and fascinating outfits in choreography full of fluid, wavy, undulating movement
In ‘The Romeo’, Trajal Harrell combines voguing with bizarre and fascinating outfits in choreography full of fluid, wavy, undulating movement
It was good to witness some excellent dancing and well-thought choreographies.
A fine evening with plenty of variety; and one not dominated by nineteenth-century fireworks.
Martí Fernández Paixà is a superb Onegin, perhaps ballet’s ultimate romantic villain. He fills the stage, even when just standing in the background
“A typically varied evening of work that ranged from out-and-out classical ballet to experimental dance theatre.”
A beautiful double bill of John Cranko’s Initials R.B.M.E. and Requiem by his great friend Kenneth MacMillan. It was an evening to savour.
The pas de deux are wonderful. They are not steamy but, typically Cranko, they are very human… balletic but without the formality
Snippets of signature works by other noted choreographers that have helped define the company, plus Montero’s own, new, Boîte-en-valise
There are changes but… there are swans. There is a lake. There is an Odette in white, and a Siegfried who falls for an Odile in black.
Absolutely and unashamedly classically-focused. Even the student choreography. The contemporary pieces were clearly classically underwritten too
An enjoyable and interesting evening with the focus on duets and the more contemporary end of the spectrum, and only one firework pas de deux.