JV2 mesmerise in Jasmin Vardimon's Canvas

JV2 in Jasmin Vardimon's Canvas

JV2 in André Rebelo's Mystique

By Deborah Weiss, 03 April 2023

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“energy levels were so vigorous, it was quite frankly, miraculous that they stayed on their feet”

Reviewed at JVh.o.m.e, Ashford on 31 March 2023

It's Not Unusual (Vinicius Salles) (Vinicius Salles)

Mystique (André Rebelo) (André Rebelo)

Canvas (Jasmin Vardimon) (Jasmin Vardimon)

Jasmin Vardimon Company

Jasmin Vardimon, Director

Jasmin Vardimon’s NOW – a timely reminder of a leading light

Graham Watts, 7th March

A revisiting of Vardimon’s past work in a collage of important ideas from her existing repertoire, stirred in with new choreography, design and sound.

****1

Carmen at Glyndebourne: a timeless tragedy

David Karlin, 16th May

Diane Paulus' staging is remarkably true to the original while making it feel like the work was written yesterday.

*****

Tim Albery's Tannhäuser gets a second revival at the ROH

Mark Valencia, 29th January

Albery's production allows the opera to speak for itself, although sluggish pacing in the pit detract from the musical merits of this revival.

***11

Downhill from Venusberg: a bland Tannhäuser

Mark Pullinger, 26th April

Tim Albery's 2010 production of Tannhäuser, receiving its first revival at Covent Garden, begins with a stylish opening 20 minutes, but thereafter things become rather bland.

***11

Justitia is done: Jasmin Vardimon at the Peacock Theatre

Katja Vaghi, 17th September

If you are like me and have ever wondered how a crime story would be transposed into dance, Jasmin Vardimon’s Justitia is the show for you. Recipient of the 2013 International Theatre Institute Award for Excellence in Dance, Vardimon, who was raised on an Israeli kibbutz, is one of the leading force in British dance theatre.

****1

Jasmin Vardimon's Freedom at Sadler's Wells

Erin Johnson, 12th November

In what way would you set the stage for an exploration of freedom? Jasmin Vardimon’s vision adorns the Sadler’s Wells stage with large, spinning set pieces dripping with duct tube and green vines of industrial plastic. A camouflaged blanket made of rustling synthetic leaves makes sporadic entrances and exits to the scene.

****1

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Deborah Weiss

Deb joined Bachtrack in 2022 and commissions reviews and writing on ballet and dance. She was Royal Ballet School-trained and is a former principal dancer for companies including London Festival Ballet (now English National Ballet) and Bayerisches Staatsballett. She has been writing for more than 30 years – publications have included Dancing Times, DanceTabs, Dance for You and Dance Europe. She also interviews for Voices of British Ballet, an oral archive of people who have worked in the industry in the UK. In addition to her writing, since 2016 she has been facilitating programmes that support victims of domestic abuse. Deb is passionate about her rescue dog, Bruce, and daughters (not in that order), swims a mile at least five days a week and is an avid reader.