Not a linear narrative, Oscar looks back at key moments in Wilde’s life and relationships, revisiting the glittering world he once inhabited, and then at the effects of his time in Reading Gaol.
Presenting works by choreographers whose careers have been shaped by the School, the evening offered a remarkable showcase of its enduring contribution to British ballet.
Three ballets, very different in style and mood: Christopher Wheeldon’s Continuum, Alexei Ratmansky’s Solitude, George Balanchine’s Bourrée Fantasque
Time and again the young dancers rose marvellously to the pressure of the occasion in what was a wonderful display of skill and talent. It was also a hugely enjoyable performance choreographically.
Still Pointless emphasises the ensemble. The one exception to that is exceptional and turns out to be the highlight of the show. Christopher Wheeldon’s Us…
What remains most impressive is the calibre of the dancers. They show athletic power, musical responsiveness, sharp ensemble work and superb technique
The choreographic mix, emerging dancers alongside dancing stars, is what makes Ballet Nights a unique experience… the dancing was an absolute joy
As entertainment, Like Water for Chocolate succeeds. It is a rich, magical, exotic tragedy. But in terms of substance, it remains at the surface.
Nemesis is a real juicy nugget of a work, one that makes you want to see more of Ihsan Rustem’s choreography and Ballett Augsburg.
Not only a super demonstration of the range of his output, but the title encapsulates neatly his journey from classical ballet to musical theatre.
World premieres by Wayne McGregor, Cathy Marston, Akram Khan, León-Lightfoot, and a first Royal Ballet presentation by NYCB’s Justin Peck