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
It looks insanely beautiful. Pite’s choreography ebbs and flows again and again as it sweeps across the stage to Górecki’s evocative music
Five dancers attempt to achieve perfect form, represented by Leonardo da Vinci’s Vitruvian Man while interacting with colourful Mondrian-like objects
Full of familiar moments and familiar characters in familiar settings, and sometimes surprisingly deeply thoughtful
Old traditions – dance, music and kanthas – are used in new ways to express the very modern experiences of Asian women during the pandemic
Although each new turn provides [her] body with new ways to think and move, in Mclean’s world freedom is also a vulnerable act.
A glorious production that reminded us that, against the all odds, the arts can carry on
I felt I was in one space having two separate experiences: one ‘drama’ with a very limited script, and one dance
Another de Keersmaeker ride and a half. Full of questions, many unanswered. Which is why I, and I imagine many others, keep returning
Their en travesti brand of ballet humour, poking affectionate, gentle fun at traditions and stereotypes, still makes for an amusing, enjoyable evening
As good as the gala is, dance and dancers have moved on. To really understand Nureyev, time spent with DVDs and YouTube would be well rewarded
Without doubt, the highlight is Jonathan Payn’s beautifully crafted Iken, a gently lyrical classical ballet to Benjamin Britten’s Simple Symphony