NEBT at Peacock Theatre: The future is here

Par Cristina de Lucas, 04 juillet 2014

Chargement en cours, veuillez patienter...

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Critique faite à Sadler's Wells: Peacock Theatre, Londres, le 2 juillet 2014

Tangents

Toca

Orbital Motion

Suck It and See

The Kreutzer Sonata (Andrew McNicol)

New English Ballet Theatre

McNicol Ballet Collective: five years, celebrated in style

Alexander Simpkins, 5th April

McNicol Ballet Collective celebrates its 5th anniversary with excerpts of three previous successes and a brand new one act ballet.

***11

Ballet Nights: Changing Perceptions is a bold and beautiful show

Graham Watts, 27th October

A new concept of high-end cabaret ballet with an incredible line up.

****1

McNicol Ballet Collective's Devotions: steps of gossamer quality

Daniel Pratt, 10th June

There is a depth of tenderness in McNicol’s work that needs to be explored. We sensed it in Of Silence, and it unfolds in more provocative ways in Moonbend.

****1

Ella’s Big Chance: A Jazz-Age Cinderella is a rip-roaring triumph

Graham Watts, 4th July

A “high-five” for the maturity, professionalism and outstanding production values of the London Children's Ballet's latest full-length ballet.

ENBS in My First Ballet: Swan Lake – inspirational performances

Deborah Weiss, 16th April

English National Ballet School have discovered a truly successful formula with its My First Ballet series. Hundreds of young children are transported by Swan Lake at London's Peacock.

****1

Manuel Liñán's ¡Viva!: a breathtaking, spectacular show

Graham Watts, 17th October

Liñán leads the way with a trio of solos, each showcasing his magnificent command of zapateado, opening with a back-to-audience performance that exemplified the silky-smooth fluidity of his hands, wrists and arms.

*****

Plus de critiques...

Cristina de Lucas

After a career in the legal field where she combined her job as an Attorney at Law with collaborative roles in various local and international cultural enterprises, Cristina de Lucas turned to dance research and criticism in 2009, when she moved to London. She obtained her doctorate from the Department of Dance at the University of Roehampton (London). Her fully-funded thesis focused on the confluence between dance and narrative in the repertory of the British choreographer Kenneth MacMillan. Her research has received several awards, such a full Vice-Chancellor scholarship and the 2014 SDHS Graduate Student Travel Grant. She also reviews dance and cinema, contributing regularly to several publications in Spain and UK.