Wayne McGregor: Autobiography
The dancing was outstanding… McGregor’s choreography, or it is AI choreography, is creative, innovative, and exciting to watch. Until it isn’t.
Sadler's Wells
New York City Ballet’s London return
While the company has always projected a sense of excitement and even danger… alas, little was evident in this quadruple bill.
INK, Play for Two by Dimitris Papaioannou
Worked for those in the audience who could climb inside his imagination and make their own story from what he was showing us.
Tanztheater Wuppertal Pina Bausch: Nelken
Often humorous, the dances border on grotesque, as if begging [us]… to acknowledge that the overwhelming sweetness can quickly turn into horror
Latin flair: São Paulo Dance Company
All three pieces call for a great deal of ensemble work, executed with such control and precision that at times they seemed to be come a single entity.
Alina Cojocaru presents La Strada
La Strada really lights up when Kobborg and Cojocaru come together. She doesn’t just smile her way through their duet, she radiates happiness
A Gothic delight: Matthew Bourne’s Edward Scissorhands
Trumps both The Royal Ballet and the English National Ballet’s traditional Christmas Nutcrackers… a Christmas fairytale like no other
Cloud Gate Dance Theatre: Lunar Halo
The total commitment of the dancers produces a torrid intensity that sears across the footlights.
Rambert: Death Trap
A somewhat mysterious, weird evening. Dark yet humorous. And, while it has death at its core, perhaps, in its own way, even more a show about life.
A deconstructed symphony of movement and music. Maud Le Pladec’s Twenty-seven perspectives
It maybe a work of mathematical abstraction, but it’s one where dance and music truly come together as one… A fascinating watch
Ballet meets rock in New English Ballet Theatre’s Genesis Dance Project
Genesis Dance Project features six choreographies to tracks by the iconic band. David Mead talks to Ruth Brill, one of the choreographers.