We Caliban: Shobana Jeyasingh’s sideways look at The Tempest
A work that both fascinates and confuses, and that shows Caliban, danced strikingly by Raúl Reinoso Acanda, from a very different perspective.
English National Ballet in R:Evolution
David Dawson’s Four Last Songs: sleek, extremely physical and emotional… Poetry in motion, it is utterly, utterly gorgeous.
The Royal Ballet: Like Water for Chocolate
As entertainment, Like Water for Chocolate succeeds. It is a rich, magical, exotic tragedy. But in terms of substance, it remains at the surface.
Dinner Party: pulling back the curtain on relationships
An exploration of the relationships between five couples… visited in turn, each conversation heard in recorded text, seen in dance.
New York City Ballet: Donizetti Variations, Ballade, Swan Lake
A pleasing, if unexciting evening. While nicely danced, it would be fair to say that none of the three ballets are out of Balanchine’s top drawer.
Fall for Dance Program 3: Two pas de deux, postmodern dance and something of today
Fall for Dance Program 3 with Hannah O’Neill and Hugo Marchand of Paris Opera Ballet, Gibney Dance, and Roderick George/kNoname Artist
An impressive start for Regent’s Park Theatre’s Theatre Dance Lab
Drew McOnie really has also got a good thing going with this new programme to nurture the next generation of musical theatre choreographers.
Acosta Danza: A Decade in Motion
All seventeen dancers were outstanding throughout, never dropping their attention to detail, bringing intense emotion to their dancing.
Frauke Requardt and Vivienne Franzmann: Anatomy of Survival
The story revolves around a woman trying to buy a coffee, and the barista not understanding what she wanted.
Sidi Larbi Cherkaoui / Eastman: Vlaemsch (chez moi)
Picasso bent women with a brush. Holbein crushed ambassadors with a skull. Cherkaoui piles his house with dancers, books, frames, bones.
Fall for Dance Programme 2: Dog Rising, Resurrection, Impasse
A stamina-sapping piece by Clara Furey/Bent Hollow, Memphis-Jookin from Charles ‘Lil Buck’ Riley, and Johan Inger’s weird and wonderful Impasse