Rambert: Death Trap
A somewhat mysterious, weird evening. Dark yet humorous. And, while it has death at its core, perhaps, in its own way, even more a show about life.
A somewhat mysterious, weird evening. Dark yet humorous. And, while it has death at its core, perhaps, in its own way, even more a show about life.
The show is colourful, hi-tempo and non-stop. It’s amazing what you can do with a few large boxes, some imagination and a dash of the ‘inner child.’
A sort of Peking Opera meets Bollywood mish-mash, with a generous amount of Shakespeare at its roots
Momoko Hirata and Mathias Digman lit up the stage in the grand pas de deux. ‘Polished’ does not do them justice. Hirata sparkled like a cut diamond
Taking my seat with the real audience, my two grandchildren, the excitement in the auditorium was palpable. It doesn’t disappoint
A collage of recollected impressions and sensations, and to a lesser extent emotions, of the refugee experience
A joyful two hours. Light, entertaining and wonderfully optimistic. And sometimes, that’s precisely what’s needed
Beautifully re-mastered, Powell and Pressburger’s The Red Shoes has lost nothing of its power after 75 years. If anything it has gained it.
Bourne manages to pull off the tricky challenge of being faithful to the original while giving his production an inner life all of its own
José Martínez has given the ballet a make-over. With the important dance intact but the libretto trimmed, it is destined to become a new favourite.
A long-overdue look at an underrated and perhaps now largely forgotten principal dancer.