We Caliban: Shobana Jeyasingh’s sideways look at The Tempest
A work that both fascinates and confuses, and that shows Caliban, danced strikingly by Raúl Reinoso Acanda, from a very different perspective.
London & SE
English National Ballet in R:Evolution
David Dawson’s Four Last Songs: sleek, extremely physical and emotional… Poetry in motion, it is utterly, utterly gorgeous.
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.
An impressive start for Regent’s Park Theatre’s Theatre Dance Lab
Drew McOnie really has also got a good thing going with this new programme to nurture the next generation of musical theatre choreographers.
Acosta Danza: A Decade in Motion
All seventeen dancers were outstanding throughout, never dropping their attention to detail, bringing intense emotion to their dancing.
Frauke Requardt and Vivienne Franzmann: Anatomy of Survival
The story revolves around a woman trying to buy a coffee, and the barista not understanding what she wanted.
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.
Jazz Arts ReWired
The quality of the dancing was excellent, with the men out-performing the women in cleanness of lines, and wonderfully precise syncopation
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
Ella Tighe: Disco Queen
An hour of monologue, interspersed with freestyle dance routines but does feel like a set of unconnected routines rather than a single dance work.
Sadeck Berrabah: Murmuration Level 2
The mesmeric, swooping, sweeping beauty of a murmuration in the soft light of sunset is reduced to that of automatons