Giselle at the time of Communism: Boris Eifman’s Red Giselle at Theater am Postdamer Platz

The myth of Pygmalion and Galatea brings us back to the very start of the ballet tradition with Jean-Philippe Rameau’s one act opera-ballet of 1748.

Eifman has said he wants move dance back into theater and to use movement to explore the psychological. Both of these the company accomplishes.

TCHAIKOVSKY, PRO ET CONTRA is a ballet by Boris Eifman that beautifully examines how Tchaikovsky's internal struggles inspired his amazing music that inspires still.

Eifman Ballet is back in London with Boris Eifman's latest ballet, Up and Down 

The energy exuded from The Eifman Ballet in Rodin was enough to light – and keep burning – the Olympic torch. At the Alexandrinsky Theatre, St Petersburg. 

There’s no denying that the work of Boris Eifman is super-dramatic, erotic, engrossing, beautifully lit and visually commanding, and that he has a troupe of magnificent dancers. But, whereas his first London production Anna Karenina proved near faithful to the Tolstoy novel, his second ballet Onegin that was seen this week in London, took great liberties with its text.