An Evening with Matthew Ball
“…Resists easy categorisation. Neither performance nor talk, it functions as a self-portrait in transition, part experiment, part public reckoning.”
“…Resists easy categorisation. Neither performance nor talk, it functions as a self-portrait in transition, part experiment, part public reckoning.”
Curiosity and awe arise while observing this being who appears to be suffering in its own stillness, struggling to get out from an invisible restriction
In Mats Ek’s ballet, Nancy Osbaldeston… was a zesty Carmen. She insists on her freedom, seeing herself as equal with the men
There is a lot of dancing but it does feel like one big number after another at times. And the choreography within them is very busy
A rather enjoyable, neatly choreographed, well-danced show… An animated party scene that brims with life, helped by a great deal of dancing
A wonderful two-and-a-half-hours; a masterpiece of character and storytelling… Great music, great dance… a lot of heart… A show you will not forget.
The ambitions of the creative team are unmistakable, and the sparks within these fragments may yet find a more cohesive form.
The dancing is terrific. Every single member of the cast bursts with energy and athleticism. Everything is so sharp, so precise, it takes your breath away
Keller not only looks like an incarnation of the sylphs in the engravings of the ballet from the Romantic era, she also fills her creature with life
A ballet that wraps young and old alike in a warm, familiar fantasy, it’s a chance to snuggle down and forget the world outside for a couple of hours.
Two pieces by young choreographers, both of whom have a special relationship with the company: Mthuthuzeli November and Phoebe Jewitt.