Bintley's The King Dances graces Sadler's Wells' stage

By Cristina de Lucas, 18 October 2015

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“Bintley's work explores the roots of classical ballet”

Reviewed at Sadler's Wells Theatre, London on 16 October 2015

The King Dances (David Bintley)

Theme and Variations (George Balanchine)

Enigma Variations (Sir Frederick Ashton)

Birmingham Royal Ballet

David Bintley, Director

Katrina Lindsay, Set Designer, Costume Designer

Peter Mumford, Lighting Designer

William Bracewell, Dancer

Tyrone Singleton, Dancer

Yasuo Atsuji, Dancer

Brandon Lawrence, Dancer

Feargus Campbell, Dancer

Mathias Dingman, Dancer

Momoko Hirata, Dancer

Joseph Caley, Dancer

Finnish National Ballet delight in David Bintley’s A Christmas Carol

Maggie Foyer, 30th November

Skilfully drawn characters and excellent dancing make this a great alternative to the plethora of Nutcrackers during the festive season.

****1

David Bintley's Aladdin: a beloved production returns to Tokyo

Naomi Mori, 14th June

National Ballet of Japan has revived Sir David Bintley’s Aladdin for the first time in five years and it shows how the company has developed since the premiere in 2008.

****1

National Ballet of Japan kicks off 2022 with stylish New Year Ballet

Naomi Mori, 14th January

National Ballet of Japan successfully performs two very different pieces, George Balanchine's Theme and Variations and David Bintley's Still Life at the Penguin Café, amid the ongoing COVID-19 crisis.

****1

New Year Ballet creates a buzz with “Still Life” at the Penguin Café

Naomi Mori, 11th January

New Year Ballet displayed the versatility of the National Ballet of Japan, from the 19th-century classic Paquita, to three works by Japanese choreographers and David Bintley's “Still Life” at the Penguin Café.

****1

Birmingham Royal Ballet's Nutcracker rescued for online audiences

Graham Watts, 21st December

Outstanding performances all-around in this special treat for Christmas

*****

Traditional to the core: BRB's Giselle returns

Graham Watts, 28th September

The welcome return of a thoughtful interpretation of this much-loved ballet

****1

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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.

Birmingham Royal Ballet’s Variations Triple Bill at Sadler’s Wells