An evening of many colours: Badisches Staatsballett’s International Benefit Gala
Invariably a wonderful evening’s dance… this year’s gala was also a farewell, and a thank you, to outgoing artistic director Bridget Breiner
Badisches Staatsballett
Choreographers across generations in Badisches Staatsballett’s Strings/Jumps
A well-balanced programme of quality dance – the visit of 92-year-old Hans van Manen and a rapturously received premiere from Mthuthuzeli November
Badisches Staatsballett: The Girl & the Nutcracker
Bridget Breiner shifts the action to early 20th-century America. The all-new choreography is refreshingly classical, the ballet a showcase for technique
Future Choreography: an evening of new work by and with the Badisches Staatsballett
“A typically varied evening of work that ranged from out-and-out classical ballet to experimental dance theatre.”
Badisches Staatsballett International Benefit Gala
An enjoyable and interesting evening with the focus on duets and the more contemporary end of the spectrum, and only one firework pas de deux.
A tale of two queens: Badisches Staatsballett in Maria Stuart
While Sophie Martin is a commanding presence as Elizabeth, albeit someone aloof and alone… it is Bridgett Zehr as Mary who stalks every scene
Opposites attract: Badisches Staatsballett do Jazz
Sleek, slinky and smooth, sophisticated yet playful, Stina Quagebeur’s Deviations feels like peeking in on an easy going jazz club.
A symphony of dance: Badisches Staatsballett in Per aspera ad astra
Glen Tetley’s Voluntaries is intensely moving. The dance soars literally, in its cruciform overhead lifts, and in its spirituality.
Badisches Staatsballett: Ruß – Eine Geschichte von Aschenputtel (Soot – A Retelling of Cinderella)
Bridget Briner’s complex, impressive version that relocates the story and tells it from the perspective of Livia, one of Cinderella’s stepsisters
Clean, sleek, stylish: Badisches Staatsballett in David Dawson’s Giselle
Modern yes, but still a ballet driven by emotions and imperfect people…and that in Act II especially, touches in all the right places
