Three years after its première, Until the Lions returns to the Roundhouse, still an extraordinary theatrical experience: mesmerising, atmospheric, sensory and strangely sensual
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.
Until the Lions is an enriching experience. It is a gripping tale filled with action and physical action. Akram Khan and his creataive team take us into an alternative realm.
The invention, clarity and freshness of the choreography is breathtaking throughout, made even more so by outstanding performance. This new Giselle is a masterpiece, taking English National Ballet to new heights.
A farewell tour by a legend is an opportunity for her to give thanks to her fans and for us to signal our appreciation for a career that spanned thirty-five astonishing years.
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.
Some twenty minutes into the opening night performance of DESH, the Olivier-award winning solo choreographed and performed by Akram Khan, I feel baffled.
Akram Khan is a potent storyteller, and he demonstrates it once more in his newest commission for Sadler’s Wells, In the Mind of Igor (iTMOi). The second work in A String of Rites, Sadler’s series celebrating the centenary of Igor Stravinsky’s Rite of Spring, with iTMOi Khan chooses an indirect approach to the masterpiece, shedding light on the thoughts and feelings behind it.
You may have seen Akram Khan recently at the Olympics, performing alongside Emeli Sande and some 50 dancers in his touching and often aggressive tribute to the victims of the 7/7 bombings. Or, for those of you tuning into NBC’s coverage, you will have been treated to an interview with Michael Phelps.
Akram Khan’s work is always characterised by a strong narrative and in his latest piece, DESH, he tells his own personal story and in doing so delivers his best work yet. Desh, means homeland and Khan returns to Bangladesh, the place of his father’s birth to examine the roots of his family’s culture.
Vertical Road is Akram Khan’s latest contemporary ensemble work in which he focuses on spirituality and the question of faith. The Vertical Road of the title is the sacred road, the path of ascent, as opposed to the secular life of the horizontal road.
Akram Khan revient sur la scène contemporaine avec Until the Lions, inspiré d’un extrait du Mahabharata. Cette nouvelle création marie de nouveau la danse contemporaine au kathak, danse traditionnelle du nord de l’Inde, dans une narration extraordinairement exaltante.
Avec Torobaka, Akram Khan et Israel Galvan puisent dans les origines de leur art pour confronter flamenco et danse traditionnelle kathak, originaire de l’Inde du Nord. Si les techniques s’entrechoquent, le rythme et l’énergie de la danse s’unissent dans un face-à-face époustouflant.
