Catherine has recently moved to Beijing, where she writes, studies Chinese, and teaches English at a university. She has an avid interest in East and Southeast Asian performing arts and has also lived in Seoul, South Korea, and speaks Korean. Catherine is a graduate of Royal Holloway, University of London, worked as dance editor for Bachtrack for 6 months. You can read more on Catherine's Wordpress blog Catherine and the Lion
Reviewer Catherine Sutherland is living and working in Beijing and here she gives her picks of the venues offering everything from stand-up comedy to Chinese Opera.
National Ballet of China’s The Chinese New Year, a Chinese adaptation of the Christmas classic The Nutcracker is without a doubt the most extravagant celebration of the national holiday that any resident of China could hope for.
Unlike some contemporary Giselle being performed in the West, National Ballet of China’s version harks back to the delicacy and romance of the 1841 original. The choreography performed at Beijing’s NCPA last Friday was strikingly beautiful, wonderfully capturing the profound emotion of the piece.
Willy Tsao’s Beijing Dance / LDTX performed wonderfully in the premiere of Chinese army choreographer Yang Wei’s Earth / Quake at Beijing’s PLA Theater last Tuesday.
On the second night of San Francisco Ballet’s second visit to Beijing, the company treated their Chinese audience to a varied programme: Tomasson’s Caprice, Wheeldon’s Rush, van Manen’s Variations for Two Couples, and Balanchine’s Theme and Variations.
San Francisco Ballet's Giselle brought enthusiastic Beijingers out in hordes to see Yuan Yuan Tan in the title role at the National Center for the Performing Arts on Friday night.
Explosive and animated, Sylvie Guillem moves with an inimitable combination of energy, joie de vivre and delicacy throughout her final show, Life in Progress, at Beijing’s National Center for Performing Arts.
A continuation of last week’s stunning performances, the LDTX dancers present another six brilliant new works in the second installment of their Spring Equinox programme in Beijing.
Göteborgsoperans Danskompani takes on the theme of Wonderland: Weird and Wonderful for the 2014-15 season. Bachtrack interviewed artistic director, Adolphe Binder, to discuss the four dynamic world premières in the coming season.
Six budding choreographers show five unique dance pieces and one enthralling film in the third incarnation of In Good Company at The Place, London this weekend.
Young Chinese choreographer Tao Ye presented two parts of his series of abstract works to a small audience in Sadler’s Wells Lilian Baylis Studio this weekend.
Crystal Pite’s The Tempest Replica puts a unique spin on William Shakespeare’s The Tempest. Presented at Sadler’s Wells, where Pite has recently become the 16th Associate Artist, The Tempest Replica gives us an old school story in a brilliant new way.
Puffball is a brave and strangely beautiful part of CircusFest 2014 at London’s Roundhouse. The ensemble are a large group of young LGBTQ performers, exploring questions of identity and the experience of love, drawing on personal experiences.
HeadSpace Dance’s trio of works, If Play Is Play, is energetic, touching, funny and emotional. The four strong performers prove that a small ensemble is in no way a hindrance to a diverse and interesting programme of works, or to an excellent performance.
