Festival of New Choreography: Dark with Excessive Bright, Duets
Shedding their very traditional image, the Royal Opera House has opened up unusual spaces and introduced new faces.
Shedding their very traditional image, the Royal Opera House has opened up unusual spaces and introduced new faces.
Worked for those in the audience who could climb inside his imagination and make their own story from what he was showing us.
Another evening of dance diversity: the stars shone brightly and the mystery guest made a dynamic appearance.
A brutal, brave exposure of something deeply personal. We experience it as story unfinished and too late to repair all the same.
Often humorous, the dances border on grotesque, as if begging [us]… to acknowledge that the overwhelming sweetness can quickly turn into horror
There is much to like, not least that all have an overt classical core… A big hurrah too for the fact that three of the pieces feature pointework…
In Un-form, all three dancers are quite compelling, their dance amazingly detailed, superbly performed and clearly with great personal meaning
All three pieces call for a great deal of ensemble work, executed with such control and precision that at times they seemed to be come a single entity.
The circus work is skilful. Joshua Fraser’s use of a cyr wheel to symbolise Alec’s immorality and avarice is effective and very well executed
La Strada really lights up when Kobborg and Cojocaru come together. She doesn’t just smile her way through their duet, she radiates happiness
The work flips easily between physical theatre and playful contemporary dance, at its best in unison sequences that are invariably tightly performed