Les Ballets C de la B Sadler’s Wells Theatre Jérôme Bel Lilian Baylis Studio at Sadler’s Wells Within the past two weeks Sadler’s Wells played host to two memorable modern dance performances: Pitié! and A Spectator. They could not have been more different, and yet they both showed how, in an arts world plagued by
Triple Bill Royal Ballet, Royal Opera House ‘Saucy’ and ‘funky’ are not terms one would normally expect to hear in relation to a ballet performance. Nor is the irritatingly ubiquitous ‘cool’, which is what my young(er) date uttered last Saturday at the end of the Royal Ballet’s triple bill. Yet they all suit perfectly well
La Bayadère Royal Opera House I have often wondered what it is that makes the 1877 La Bayadère such a popular ballet. Certainly not the flimsy, derivative and highly unbelievable plot, as full of sensationalist twists as any mass-oriented 19th-century feuilleton; nor the music, a concoction of fairly uninspiring catchy tunes by the well-known 19th-century
Manon Coliseum Ballet goers don’t seem to mind the endless flow of new productions of 19th-century classic works. Every year works such as Swan Lake, Sleeping Beauty, Giselle and the ubiquitous Nutcracker are presented to audiences worldwide with new designs, new sets, new dramaturgic readings and, in some instances, with new choreography. Yet such a
The Sleeping Beauty English National Ballet, Coliseum Forgive me the lame pun, but although The Sleeping Beauty is performed worldwide, there are not that many great Beauties around. One exception is, arguably, the one staged under Kenneth MacMillan’s supervision, first seen in Berlin in the Sixties, then reworked for American Ballet Theatre in 1986 and
Triple Bill Royal Opera House According to a tacitly shared, unwritten code of common professional practice, critics ought not to divulge their opinion before being published. Which is why I felt terribly guilty when, at the end of Wayne McGregor’s Infra, I gave my first impressions to a BBC interviewer. True, I did not say
Romeo & Juliet, On Motifs of Shakespeare Mark Morris Dance Group Barbican Like child prodigies, enfants terribles do not last forever. As both epithets imply, there is always a fairly traumatic moment in which they stop being children. True, enfants terribles normally outlive child prodigies, at least because the label is never so strictly related
Overture 2012: Power and Passion Royal Albert Hall Julie Gilbert/Jean-Baptiste André The Place Triple Bill Royal Opera House I have to confess that the idea of 120 children and teenagers dancing to Shostakovich’s 10th Symphony did not sound particularly appealing. I have nothing against children, but their performances bore me to death. The problem is
Mariinsky Ballet Sadler’s Wells Tiago Guedes: Various Materials The Place: Robin Howard Dance Theatre I know I am not alone in thinking that an all-Forsythe programme was not an ideal choice for the Mariinsky Ballet’s opening night in London. As the man who dared successfully to manipulate ballet’s centuries’ old principles, William Forsythe is regarded
Compagnie Beau Geste Parsons Green Toilet Tango Bathstore, Baker Street Stephen Petronio Dance Company Queen Elizabeth Hall Australian Ballet Sadler’s Wells Theatre Manon Royal Opera House The dancing digger and its partner, the exceptional Philippe Priasso, are back in town. Aptly regarded as a highlight of last year’s Dance Umbrella, Compagnie Beau Geste’s Transports Exceptionnels
Merce Cunningham Dance Company Barbican Swan Lake Royal Opera House Scottish Ballet Queen Elizabeth Hall As if by tacit agreement, Dance Umbrella and the Royal Ballet started their new seasons with classics of their respective dance cultures. A regular Umbrella visitor, the Merce Cunningham Dance Company is a safe choice to kick off with, for
Matthew Bourne’s Dorian Gray Sadler’s Wells I often wonder whether in a society so greedily obsessed with the commercial acquisition of good looks Dorian Gray’s disquieting handsomeness and prolonged youth would still mean anything. Liposuction, steroids, laser hair-removal and impossible fitness programmes have eroded and detracted from what once was the notion of ideal beauty,
National Ballet of China: Swan Lake Royal Opera House My first article for The Spectator was a slightly long-winded analysis of the state of Swan Lake on the eve of the ballet’s centenary. It followed a far more pedantic four-part essay in the specialist magazine Dancing Times, of which the late Frank Johnson, my first
Mikhailovsky Ballet London Coliseum It is somewhat refreshing that the 2008 summer ballet season in London is not monopolised by either the Bolshoi or the Kirov/Mariinsky ballet companies as it has been for the past few years. The presence of two rarely seen formations, such as the Mikhailovsky Ballet and the National Ballet of China,
Royal Ballet: Double Bill Royal Opera House Theatre magic has a lot to do with the unpredictability of the performed event. Regardless of the alluring promise of an all-star cast or the doubts raised by daring artistic choices, there is no certain way to forecast what any live performance will be like. Indeed, it is
Royal Ballet Triple Bill Royal Opera House There was a time when dancers were very often given the means to gain a deep understanding of what they were supposed to be interpreting on stage — the well-known story of Ninette de Valois taking her artists to see William Hogarth’s paintings while creating The Rake’s Progress
Entity Random Dance, Sadler’s Wells Paradoxical as it might sound, ballet’s rebirth is happening thanks to (and within) modern and postmodern choreography. Over the past 20 years, classical dance, considered by many to be a dead art, has attracted the interest of many non-classical dance-makers. While some have successfully revised and reinterpreted the narratives of
New York City Ballet London Coliseum Despite the hype with which it was heralded, and an undeniably interesting programme of delectable choreographic offerings, the New York City Ballet season at the London Coliseum has not lived up to expectations. Last week I expressed my reservations about the second programme on offer, the one celebrating the
New York City Ballet London Coliseum Despite being one of the greatest dance-makers ever, Jerome Robbins remains, outside the United States, an unsung hero of 20th-century ballet. Even newly printed European dance-history manuals relegate him to a lesser place, preferring to give sole credit to Russian-born George Balanchine for the creation of a distinctively American
Insane in the Brain Bounce, Peacock Theatre An upbeat, street-dance version of Romeo and Juliet, presented by Rumble, was one of the hottest tickets at the 2006 Edinburgh Festival. Some critics did dislike it as yet another example of modern-day cultural and artistic madness, but others welcomed its innovative approach to the creation of both