Ghoulish fun: Arthur Pita’s Ten Sorry Tales
Almost always irreverent and bizarre, sometimes ghoulish, sometimes colourful, often a little surreal, each story is also very human.
London & SE
Developing new hip hop dance theatre: Breakin’ Convention’s Emerge+See
It was seriously impressive to see just how far the ideas and pieces had progressed in their few short weeks of development
A tale of forbidden love: Northern Ballet’s The Little Mermaid
The excellent Saeka Shirai makes it dramatically clear just how isolated Marilla is. The pain she feels with every step is etched on her whole body.
Chiara Bersani: chasing magic, Seeking Unicorns
By reaching toward what is imperceptible, unknown and unseen, Bersani implicates herself in a new and magical form of becoming
Dance and music in a Bloomsbury oasis: Garden Unlocked
The dance and music seem to be shaped by the surroundings, by the architecture and space around, as well as with each other.
Ballet Black celebrates twenty years
Linbury Theatre, Royal Opera House, LondonOctober 19, 2022 Twenty-one years ago, Cassa Pancho founded Ballet Black with the aim of giving a voice to black and Asian dancers. But as the voiceover to Say It Loud, created by Pancho and the dancers to celebrate the company’s twentieth anniversary, tells us, initially, “No-one really noticed us. … Read more
A meditation on humanity: The Royal Ballet in Crystal Pite’s Light of Passage
It looks insanely beautiful. Pite’s choreography ebbs and flows again and again as it sweeps across the stage to Górecki’s evocative music
Celebrating life and belonging: And by Charlotte McLean
Although each new turn provides [her] body with new ways to think and move, in Mclean’s world freedom is also a vulnerable act.
Out of the tragedy of war, a new Giselle from the United Ukranian Ballet
A glorious production that reminded us that, against the all odds, the arts can carry on
Dance and drama but strangely disconnected in Civilisation by Jaz Woodcock-Stewart and Morgann Runacre-Temple
I felt I was in one space having two separate experiences: one ‘drama’ with a very limited script, and one dance
Anne Teresa de Keersmaeker: The Goldberg Variations, BWV 988
Another de Keersmaeker ride and a half. Full of questions, many unanswered. Which is why I, and I imagine many others, keep returning