Ballet national de Marseille by (LA) HORDE
Ballet national de Marseille are rooted in rebellion. They are identifiable by the personal risks taken by the dancers, and by (LA) HORDE’s direction
London & SE
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.
INK, Play for Two by Dimitris Papaioannou
Worked for those in the audience who could climb inside his imagination and make their own story from what he was showing us.
Ballet Nights 004
Another evening of dance diversity: the stars shone brightly and the mystery guest made a dynamic appearance.
Nikki Rummer in Unbroken
A brutal, brave exposure of something deeply personal. We experience it as story unfinished and too late to repair all the same.
Tanztheater Wuppertal Pina Bausch: Nelken
Often humorous, the dances border on grotesque, as if begging [us]… to acknowledge that the overwhelming sweetness can quickly turn into horror
A box of delights: New Works at The Royal Ballet
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…
Singapore’s T.H.E Dance Company in a triple bill of short works
In Un-form, all three dancers are quite compelling, their dance amazingly detailed, superbly performed and clearly with great personal meaning
Latin flair: São Paulo Dance Company
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.
Ockham’s Razor: Tess
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
Alina Cojocaru presents La Strada
La Strada really lights up when Kobborg and Cojocaru come together. She doesn’t just smile her way through their duet, she radiates happiness