Rym Kechacha trained at Central School of Ballet and danced with Northern Ballet. She has blogged for Ballet.co, reviewed for DanceTabs and contributed to The Dancing Times and Dance Europe. She also writes fiction, essays and text messages.
Birmingham Royal Ballet presents a double bill subtitled ‘Two ballets fuelled by power and politics’ as part of David Bintley’s last season as director.
Lest We Forget, a triptych of original work first commissioned in 2014 for the centenary of the outbreak of the First World War now returns to the repertoire to commemorate a hundred years since the armistice of 1918.
The person responsible for the explosion of ballet across the world in the twentieth century wasn’t a dancer. He wasn’t a choreographer either. Nor was he a musician or a composer. He wasn’t even very rich.It has never been particularly clear what exactly it was that Sergei Pavlovich Diaghilev did for dance, but one thing is certain; he made dance the vibrant, international art form it is today.
It can’t be easy to programme a Shakespeare season that has something new to say about this giant figure in a year of excellent productions up and down the country, but this programme achieves it.
Annabelle Lopez Ochoa and Nancy Meckler's stunning stage adaptation of Tenesse Williams' A Streetcar Named Desire delights Scottish Balllet audiences in London.
The Royal Ballet marks the centennary of the First Wolrd War with a reflective, and commemorative programme. With works by Branstrup and Wheeldon, as well as a Scarlett world première.
The Royal Ballet's Ashton programme is a rare delight; and the mix of pieces shows how that know-it-when-you-see-it Ashton style is perfectly versatile.
