Projecting [space[ by Meg Stuart / Damaged Goods is a two hour immersion between dance and performance art, a way of finding the Other within us, presented at the Reinbeckhallen for HAU.
Abstract ballet always asks the question of meaning, and Alonzo King Lines Ballet is one of the few companies that answers that question with existential exactness.
As City Ballet grapples with lawsuits and lurid accusations, and the loss of an unprecendented number of male principals, new works by Kyle Abraham, Gianna Reisen, and Matthew Neenan stoke inspired performances from the dancers.
Les Grands Ballets Canadiens has brought a brand new piece to the stage; a neo-classical adaptation of D.H. Lawrence’s controversial novel, Lady Chatterley’s Lover.
For three decades, Acosta has given his audiences performances of pure pleasure. As someone who had to work against the odds to reach the top, he became one of those rare classical ballet dancers whose brilliance and incredible technical achievements, wrapped up with convincing characterisation and humble charisma, have set stages alight around the world.
The Australian Ballet’s adaptation of the historic Ancient Roman story fuses violence, seduction, and the anguish of separation. It delivers a mesmerising display of masculinity, through widly explosive battle scenes.
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.
To reassure the sceptics, the break from tradition of Stijn Celis’ Your Passion is Pure Joy to Me, and Sharon Eyal’s and Gai Behar’s Half Life made for a great start to the Staatsballett Berlin’s new season.
The instantly-recognisable, symphonic score was given the lover’s touch by conductor, Vadim Nikitin; caressed in the melancholic, slow sections and energetically encouraged wherever appropriate
Ambra Senatore’s Promenade À Sully presented as part of the Paris L'Eté festival manages to navigate the chance of site specific work with quirky and refreshing ease
Locked into a hypnotic, perpetual loop to blaring, banging mechanical sounds, nine women and nine men stride along walking upstage to downstage as if they have been sold to some force from which there is no return.
Love Chapter 2 plunges us into the messiness of heart break and isolation. It's like watching emotional entropy as the performers gradually disintegrate over the hour-long performance, undone by the ravages of love lost.
Dark Emu is a beautifully choreographed dance response to Bruce Pascoe's award-winning book. In combining current debate with millenia-old living tradition, it is both topical and profoundly poetic.
It is good to see Birmingham Royal Ballet in such fine fettle. This triple bill is well conceived and deftly performed. Not always flawless in its execution, but a five star programme nonetheless.
Opening this short Saison Russe in Berlin is Boris Eifman’s most iconic ballet, Red Giselle, a skilful tribute of the choreographer to the great Russian ballerina Olga Spessivtseva.
The overall quality of Emerging Dancer continues an upwards trajectory from year-to-year and presents a very enjoyable gala of classical ballet and contemporary dance
It’s the end of the 17/18 season for most ballet companies and for many, this means rounding off with a glitzy gala night. I feel these performances always go in one of two directions: they’re either a Greatest Hits or a bit of a patchwork quilt.
The German word Betroffenheit doesn’t translate easily to English. Any German-English dictionary will spit out approximations like "shocked" and "dismayed", but for a real translation, see Crystal Pite and Jonathan Young’s challenging, beautiful work by the same name.
In a production that proposes a revision of flamenco from its roots, stripping it of all the clichés and stereotypes that are currently weakening its essence, Fernandez’s mighty dancing and Pericet’s farsighted crafting and superb performance are extraordinary examples of the best artistic proposals that flamenco dancing can produce nowadays.
Labelled a “permanent irritation” in her home country of South Africa, Robyn Orlin takes the epithet as a compliment. She’s the grain of sand that makes a pearl! An imperfect one, but still.
A youthfully fresh corps and Victor Estévez hold together this uneven double bill, with Acosta’s troubled Carmen demonstrating the challenges of adapting opera to ballet.
Shut Eye (Lightfoot & León) is like an alternating current. Woke Up Blind (Goecke) is entertaining and vulnerable. Pite's work hits the rythmic nail on the head. You want to freeze-frame Pite's dancers, snap a picture and hang it on the wall.
For China’s choreographic rising star, Tao Ye, numbers hold a pivotal significance. He works in numbered series, compiling a neat catalogue of minimalist, experimental dance that can be performed alone or sit buttressed up against each other.
