The Royal Ballet: Manon
MacMillan gives his characters room to behave foolishly, selfishly, passionately and sometimes with startling cruelty, all within the discipline of classical ballet.
MacMillan gives his characters room to behave foolishly, selfishly, passionately and sometimes with startling cruelty, all within the discipline of classical ballet.
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.
The dancers moved from Peck’s musical intricacy to van Manen’s cool precision and November’s high-energy theatricality without losing their own presence
McRae’s attack, Lamb’s nerve, Nicholson’s theatrical instinct and Vassilev’s swagger feed off one another… pleasure keeps spilling outwards.
Myths and Modern Masters is not only about Acosta himself. It’s just as much a celebration of the talent at the two companies he leads.
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.
An evening of contrasts with three contemporary dance works from Rambert School and five shorter neo-classical pieces from the Junior Company of the Polish National Ballet
A celebratory and hopeful example of how Chance to Dance can catalyse the careers of dancers who may never have crossed paths with ballet otherwise
An evening of thirteen short works and excerpts, moving between heritage repertoire, 20th-century classics, contemporary choreography and creations
The Royal Ballet dancers looked terrific in both ballets, Salle de Danse in particular a super vehicle for their wonderful physicality.
Making her debut as Lise, Mayara Magri was technically flawless. Her dancing was a thing of beauty, her partnership with Leo Dixon wonderfully assured