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.
As they celebrate their 40th anniversary, Scottish Dance Theatre won Best Mid-Scale Company, while Scottish Ballet’s Mary, Queen of Scots picked up two awards
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
A masterclass in building humour through movement… Sunny, innocent, orderly, and just absurd enough to keep it from becoming sentimental.
Three works, three very different strategies, one shared demand: look at the stage, look at the people on it, and do not blink
The evening comes most alive in works such as Flux by Katya Bourvis for Ballet d’Jèrri which shows how power can shift through the duet form itself
Once again, The Royal Ballet has most nominations with 14 on the short-list. English National Ballet and London City Ballet have four…