Two debuts, two promotions and Cranko’s fine Swan Lake with Stuttgart Ballet
“Freely adapted from traditional versions.” Fine performances from Gabriel Figueredo and Mizuki Amemiya, both promoted at the end of the evening
“Freely adapted from traditional versions.” Fine performances from Gabriel Figueredo and Mizuki Amemiya, both promoted at the end of the evening
Mackenzie Brown and Henrik Erikson delivered in spades. Brown’s Juliet seemed to surf the waves of emotion that were flooding through her body
New and unfamiliar works rub shoulders with old favourites, with Sergio Bernal’s The Thinker the unexpected highlight of a super evening
Reid Anderson has brought a freshness to the Staatsballett performance and its strong characters as they journey through complicated emotions
With all ticket proceeds from which go to the charity, this year’s edition of established favourites and new work was a festive feast of fine dance
A look at ‘John Cranko: Tanzvisionär’ a new book of interviews with people associated with Cranko; and the 2nd edition of Ashley Killar’s biography
Martí Fernández Paixà is a superb Onegin, perhaps ballet’s ultimate romantic villain. He fills the stage, even when just standing in the background
A beautiful double bill of John Cranko’s Initials R.B.M.E. and Requiem by his great friend Kenneth MacMillan. It was an evening to savour.
The pas de deux are wonderful. They are not steamy but, typically Cranko, they are very human… balletic but without the formality
Onegin… thoughtful, restless, troubled, austere. A sense of deep solitude and… incapacity to open up emotionally accompanies him throughout
An excellent production, including the wonderful Stephen Heathcote as Lord Capulet.