London Children’s Ballet in Ella’s Big Chance: A Jazz Age Cinderella
Kristen McNally’s choreography tells the story clearly, making the most of each dancer’s abilities. The ensemble dances are delightful too.
Kristen McNally’s choreography tells the story clearly, making the most of each dancer’s abilities. The ensemble dances are delightful too.
The company presented four works with a reconstruction of Frederick Ashton’s early Foyer de Danse that held the most interest.
David Mead looks ahead to a Cinderella with a twist and talks with dancers Gina Harris-Sullivan and Toby Gray .
an emotional evening of dance. From the bittersweet melancholy of Rudi van Danzig’s Four Last Songs to the full-blooded passion of Mthuthuzeli November’s Fools with a fun interlude from Kristin McNally between, it was an evening to engage heart and soul.
In what is the best year yet for diversity, the nominations are spread across a record 29 separate companies
The most impressive of the works proved to be Daniela Cardim’s unashamedly neoclassical ballet to two of Bach’s harpsichord compositions
Kristen McNally’s light touch choreography fits perfectly. Nestling beautifully with the text, it’s sometimes playful, occasionally spiky, always colloquial.
Genesis Dance Project features six choreographies to tracks by the iconic band. David Mead talks to Ruth Brill, one of the choreographers.
The company look in fine fettle. It was an evening that ran from emotionally intense and thoughtful to fizzling like the best English sparkling wine
A conversation with New English Ballet Theatre founder and artistic director Karen Pilkington-Miksa about the company’s summer 2022 season.