Creativity, performance, enjoyment: Making Moves National Platform
A very special evening at Sadler’s Wells as nine youth dance companies from all over England came together in an initiative to celebrate creativity
A very special evening at Sadler’s Wells as nine youth dance companies from all over England came together in an initiative to celebrate creativity
It may be abstract in the sense of being non-narrative… but Dawson’s choreography and the company’s dancing reached inside and touched the soul
The third year’s classical work was Les Patineurs (1937), and then Pina Bausch’s Tannhăuser Bacchanal (1972), a fascinating piece of dance history
The varied programme of mostly excerpts from longer pieces delighted the enthusiastic audience on a summery Sunday evening
This performance of Patrice Bart’s Giselle was special in that it saw Ksenia Ovsyanick dance the lead role for the last time
Excellent dancing, good choreography, efficient storytelling. And specially commissioned music. All rather impressive for a first outing by Ballet MAR
The standard was uniformly high although, as in the past couple of years, it was the men, who got two pieces all to themselves, who thrilled
Forget any preconceptions you might have about ‘children’s ballet’… a stunningly professional show… a super evening’s entertainment.
What one remembers from this Carmen are the ensemble scenes. I don’t know what they were on, but their energy and stamina were incredible
The highlight was Olivia Chang-Clarke’s new Melody in Three. While classical through and through, dotted throughout are quirky moments that make you smile
What we’ve come to expect from Ballet Nights is quality, variety and difference. This was evident in spades at the fifth presentation.