Ailey sublimes Ingers' Walking Mad

By Hilary Stroh, 08 February 2017

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“the most thought-provoking performance tonight was the work of Swedish choreographer Johan Inger”

Reviewed at Kennedy Center: Opera House, Washington on 7 February 2017

A Winter in Lisbon (New production) (Billy Wilson)

Walking Mad (Johan Inger)

Revelations (Alvin Ailey)

Ella (Robert Battle)

Alvin Ailey American Dance Theater

Kismet: Rambert’s new double bill brings youthful joy to Edinburgh

Kathy Elgin, 3rd July

Rambert’s double bill, clearly a joyous experience for the many who leaped to their feet whooping, but perhaps a bit lightweight for anyone not quite so easily satisfied with novelty.

***11

Shadows and light: Ballet BC

Zoë Anderson, 20th May

Ballet BC’s double bill puts Crystal Pite’s marvellous, shadowy Frontier in conversation with the folk-tinged comedy of Johan Inger’s Passing.

****1

Hubbard Street Dance Chicago on the road, dancing impeccably

Carla Escoda, 25th March

A mixed bill with mixed results from Hubbard Street Dance Chicago at the Joyce Theater in New York.

***11

Johan Inger’s Carmen: see what you made me do

Katie Lawrence, 10th April

Swedish choreographer, Johan Inger, reimagines Carmen for The Australian Ballet, and purports to flip the script on "toxic masculinity" and the 200 year old tale of power and passion.

****1

English National Ballet: Johan Inger's Carmen is chillingly topical

Deborah Weiss, 27th March

It's not an easy watch, but Johan Inger's Carmen is a brave commentary on misogyny in today's society. English National Ballet give of their best.

***11

The Australian Ballet celebrates 60 years with style and star turns!

Deborah Weiss, 6th August

The Australian Ballet's return to London's Royal Opera House after a 35 year absence, proves successful at every level.

****1

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Hilary Stroh

Hilary is an independent scholar and academic historian, based in DC. She has a background in violin, piano and ballet. Educated at Dublin and Cambridge, she has recently published her first two books.

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