| Date and venue | Title | Submitted by |
|---|---|---|
| 16-May-2013 Joyce Theater | Nuanced interpretations from Hubbard Street Dance Chicago at the Joyce | Rachel Rizzuto |
 Hubbard Street Dance Chicago, performing at the Joyce last Thursday, is comprised of clearly talented dancers, with nary a technical misstep, but there was a certain abandonment missing from the night’s program – and the program itself suffered from a noticeably stronger first half.
Read full review... | ||
| 16-May-2013 His Majesty's Theatre | Matthew Bourne's Highland Fling with Scottish Ballet | Kirsty Morgan |
 The comedic Scots ditty “Donald Where’s Your Troosers?” is not your typical balletic overture, but then Matthew Bourne’s Highland Fling is not your typical Scottish Ballet production. Designed to attract the younger generation of theatre-goers who might be put off by more austere productions such as Swan Lake or Giselle, Bourne’s “romantic wee ballet” is a gritty modernisation of the 19th-century classic La Sylphide.
Read full review... | ||
| 16-May-2013 Boston Opera House | Boston Ballet's Coppélia delights, but gives few chances for stars to shine | Kathryn Maus |
 Beautifully imagined, Boston Ballet’s Coppélia delights with its charming sets, colorful costumes and charismatic leads. A storybook come to life, this ballet tells the fanciful tale of young love gone awry amidst a set of peculiar circumstances true to fairytale form. Coppélia, one of the great comedic ballets of the 19th century, requires suspense of realism on the part of the viewer (as most story ballets do), but once ensnared by its spell, this ballet had me grinning with amusement through to the final curtain.
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| 15-May-2013 New York Live Arts | Familiar steps into otherworldly dance: Pam Tanowitz's The Spectators at New York Live Arts | Rachel Rizzuto |
 What a treat it was this past Wednesday to see dancers fully clothed, free of shock-value tricks and costumes that are eventually removed. What a luxury it was to take in the beautifully arched feet and luscious lines of the dancers at my own leisure. Pam Tanowitz’s newest piece, The Spectators, is a triumph of form, space and aesthetics – all without resorting to tired, dull or unimaginative choreographic devices.
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| 14-May-2013 Sadler's Wells | Northern Ballet's The Great Gatsby at Sadler's Wells | Hanna Weibye |
 Goodness, Northern Ballet are an appealing company. Their dancers are cheerful, charismatic and talented; their ethos one of hard work and unflagging dedication to outreach, bringing the delights of ballet to as wide an audience as possible across their mostly northern catchment area. A new full-length story ballet based on F. Scott Fitzgerald’s The Great Gatsby, choreographed by David Nixon, is the perfect project for this energetic, enthusiastic ensemble – the characters are strong, the locations distinctive, the atmosphere unforgettable.Read full review... | ||
| 9-May-2013 Boston Opera House | Boston Ballet's Chroma: A powerful boost for the city's spirit | Kathryn Maus |
 When planning for the 2012/13 season, Artistic Director Mikko Nissinen could not have known how incredibly well-timed Chroma would seem for the Boston community. Following last month’s tragic events, the three selections comprising Chroma appear poised to lift the collective Bostonian spirit – it is a program that reflects on the past, reassuring the audience that traditions remain strong but that the future too is bright and brings with it a fresh new outlook.
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| 8-May-2013 Joyce Theater | Cedar Lake Contemporary Ballet hits (and then misses) at the Joyce | Ivan Talijancic |
 For the occasion of what I believe has become Cedar Lake’s annual tradition of showcasing work at the Joyce Theater, this contemporary ballet troupe has assembled an impressive trio of guest choreographers – Nederlands Dans Theater’s former chief Jiří Kylián, Crystal Pite and Andonis Foniadakis.Read full review... | ||
| 4-May-2013 Abrons Arts Center | All of a Sudden: Jack Ferver does himself (again) at Abrons Arts Center | Ivan Talijancic |
| Jack Ferver is a well-loved figure on New York’s downtown performance circuit, so it is no wonder that I arrive to Abrons Arts Center’s largest space (the Playhouse) to find that every available seat in the house is full. For the uninitiated (though, arguably, the bulk of this crowd is not), the jewel-box theatre set-up, red velvet curtain and all, could be deceiving – it might be so, for instance, for the older lady with a heavy European accent I can’t quite place who is sitting right next to me. What kind of a performance is it that Ferver does... is it dance? Read full review... | ||
| 3-May-2013 Lincoln Center: David H Koch Theater | New York City Ballet's evening with Jerome Robbins | Stephanie Sirabian |
 From lifelong fans to the previously uninitiated, New York City Ballet’s All Robbins program was designed to make the whole house cheer. Jerome Robbins’ (1918–98) work on Broadway and in ballet made him a revered artist in both circles. Few others were ever able to achieve such crossover success. Robbins’ choreography anticipates the viewers’ desires, providing humor, excitement and beauty in just the right mix.Read full review... | ||
| 27-Apr-2013 Sadler's Wells | Unrest and rancour in Hofesh Shechter's double bill at Sadler's Wells | Cristina de Lucas |
 Hofesh Shechter is a choreographer who uses dance to make powerful statements in quite an oblique way. He does not define a storyline or delineate strong characters that can catch the audience’s sympathy. Rather, he combines the theatrical elements to suggest ideas and create moods, presenting them in disjointed fragments that the audience must put together after reflection. His creations duel in the territory of identity, either collective or individual, and they always possess a potent dramatic force.Read full review... | ||
| 24-Apr-2013 Sadler's Wells | Puzzles and riddles: Eastman and Sidi Larbi Cherkaoui's Puz/zle at Sadler's Wells | Katja Vaghi |
 Among productive and successful choreographers, Sidi Larbi Cherkaoui distinguishes himself for variety: in projects, from film collaborations to the Cirque du Soleil’s arena, and in the cultural sources used for his work. Puz/zle is no exception, quite the reverse – and I beg your pardon if I will not explain all the references in it. The taste for simple fusion (cultural or culinary) is apparently no longer adequate, and it has been expanded by attention to regional details (typical of slow food).Read full review... | ||
| 19-Apr-2013 The Place | The Place Prize finals 2013 | Erin Johnson |
 This week at The Place Prize finals we’re invited yet again to “Step into the dance debate” and help select a winner from the remaining four UK choreographers. The finals are the last round of a two-year process that whittled 208 applications into 16 new dance commissions, which were narrowed yet again in the semi-finals last fall to the final four. These pieces are Rick Nodine’s Dead Gig, Riccardo Buscarini’s Athletes, Eva Recacha’s The Wishing Well and h2dance’s Duet.
Read full review... | ||
| 19-Apr-2013 Baryshnikov Arts Center: Howard Gilman Performance Space | Rosie Herrera's Dining Alone at the Baryshnikov Arts Center an unparalleled feast | Rachel Rizzuto |
 For the past several months, I have repeatedly lamented the dearth of inventive and compelling dance – preferably without an intense display of nudity. I am pleased to announce that I have found a piece of dance theater worthy of my comprehensive recommendation: Rosie Herrera’s Dining Alone. This 50-minute ensemble piece, which dissects the emotional facets of dining out, was compelling, innovative and alternately hugely comedic and poignant.
Read full review... | ||
| 19-Apr-2013 Royal Opera House, Covent Garden | Kenneth MacMillan's Mayerling makes a darkly compelling night at Covent Garden | Hanna Weibye |
 When the cast sheet warns the audience that there will be gunshots in each act, you know you are not at The Nutcracker. Kenneth MacMillan’s 1978 ballet Mayerling is famously about sex, obsession, madness and death – a cocktail that apparently sells enough tickets to ensure its regular revival at the Royal Opera House.Read full review... | ||
| 18-Apr-2013 Danspace Project, St Mark's Church in-the-Bowery | Vicky Shick's Everything You See at Danspace a confusing whirlwind of tiny dances | Rachel Rizzuto |
 Vicky Shick’s newest piece, presented at Danspace, was a motley crew of a thing in all aspects: colorful and wildly patterned costumes; dozens of pop-up solos, duets and trios, often occurring simultaneously; multi-generations of dancers; and even two separate “stages” within one space. Although this combination gave me more than enough to look at, the overall product felt more distracting and less cohesive than I would have liked. The piece’s biggest asset was its ability to be both matter-of-fact and whimsical at the same time.
Read full review... | ||
| 18-Apr-2013 The London Coliseum | Ecstasy and Death: An excellent triple bill by English National Ballet | Cristina de Lucas |
 For their second show in the London Coliseum this year, English National Ballet has presented the first programme entirely designed by its new artistic director Tamara Rojo. In the line of her vision of enriching the company’s repertory with new works, while at the same time honouring the classics, the triple bill built for the occasion is a fascinating combination of old and recent masterpieces.Read full review... | ||
| 17-Apr-2013 Place des Arts: Cinquième salle | When East meets West: Sinha Danse with Constantinople perform Sunya | Nancy Berman |
 The lights come up on a stage presided over by three planets watching silently from above. Kiya Tabassian, founder of the musical group Constantinople, enters slowly from the left, with his setar (a type of Persian lute), while Roger Sinha, artistic director and choreographer of Sinha Danse, enters from the right. The artists meet at center-stage, like travelers on a pilgrimage, each one embodying his own cross-cultural makeup, each one open to the cultural métissage of the other.Read full review... | ||
| 17-Apr-2013 Sadler's Wells | National Ballet of Canada at Sadler's Wells: Light tragedy in Alexei Ratmansky's Romeo and Juliet | Cristina de Lucas |
 On its return to London after 26 years of absence, the National Ballet of Canada has presented its brand new version of the much-loved tragedy Romeo and Juliet. The company having performed John Cranko’s interpretation since 1964, an entirely new production was commissioned to acclaimed choreographer Alexei Ratmansky to mark the 60th anniversary of the company in 2011.Read full review... | ||
| 12-Apr-2013 Sadler's Wells | Rites of passage: Fabulous Beast Dance Theatre's The Rite of Spring and Petrushka | Katja Vaghi |
 Snow is falling on the stage as the Fabulous Beast Dance Theatre presents a quite ambitious programme reworking two masterpieces of the ballet tradition: The Rite of Spring and Perushka. Originally presented in 2009, Michael Keegan-Dolan’s version of The Rite is re-imagined for the String of Rites series: a Sadler’s Wells project celebrating the 100th anniversary of Stravinsky’s collaboration with Diaghilev and the Ballets Russes for the piece.Read full review... | ||
| 12-Apr-2013 Lincoln Center: David H Koch Theater | Amorous musings: Nederlands Dans Theater at the David H. Koch Theater | Ivan Talijancic |
 Nederlands Dans Theater is in town, the excitement is palpable in the air for what is their first engagement in New York in nearly a decade, and NDT’s resident choreographers Sol León and Paul Lightfoot are on hand to provide an evening-length concert by combining two shorter works, Sehnsucht and Schmetterling, both of which were originally presented in 2010.
Read full review... | ||
| 5-Apr-2013 The London Coliseum | Dancing Bach: The Mikhailovsky Ballet's powerful contemporary face in London | Cristina de Lucas |
 The short but intense visit the Mikhailovsky Ballet is paying to London this Easter is showing the high standards the company can reach in both classical and contemporary ballet. In addition to splendid versions of Giselle, Don Quixote and Laurencia, the St Petersburg-based ballet company has also offered two bills with works by its acclaimed artistic director Nacho Duato.Read full review... | ||
| 3-Apr-2013 Sadler's Wells | Action in stillness: Sidi Larbi Cherkaoui and the Shaolin monks in Sutra at Sadler's Wells | Katja Vaghi |
 Together with the BalletBoyz’ newest production, Sidi Larbi Cherkaoui’s Sutra is probably the most eagerly awaited tour of the season. Since its première in early 2008, the piece has travelled extensively, touching 60 cities in 28 different countries, and this is its fourth season at Sadler’s Wells. A poem written for seventeen Shaolin monks; one Westerner; and Antony Gormley’s minimalist stage design – with such premises, Cherkaoui’s creation could only be a spectacular show. And indeed it is.Read full review... | ||
| 3-Apr-2013 New York Live Arts | An ambiguous, quiet treat: Gwen Welliver's Beasts and Plots at New York Live Arts | Rachel Rizzuto |
 Gwen Welliver’s newest piece, Beasts and Plots, is hard evidence that Ms Welliver has the enviable ability to transform a seemingly mundane series of movements into an imagination-inspiring, fantastical world in which I nearly convinced myself that I’d just glimpsed the cousin land of Narnia by the dance’s end. Transformation is most special when it happens almost without the audience member realizing it, which appears to be Ms Welliver’s particular talent.Read full review... | ||
| 2-Apr-2013 The London Coliseum | Excuses to dance: The Mikhailovsky Ballet's Laurencia at the Coliseum | Margaret Willis |
 The story may be a bit thin but the quantity of its dancing makes up for it. Laurencia is a ballet little known in the west (though the Mikhailovsky Ballet brought it to London in 2010). Combining the jollities of Don Quixote with the revolutionary fervour found in Flames of Paris, Laurencia is really just an excuse to fill the stage with non-stop dancing. Set in a picturesque Spanish mountain village, the lives of the happy community are shattered at the return of the local warlord who claims his droit du seigneur on pretty girls.Read full review... | ||
| 30-Mar-2013 The London Coliseum | Simply the best: Don Quixote at the London Coliseum | Margaret Willis |
 Forget those photos from North Korea showing the build-up of weaponry. A couple of supersonic rockets were set off in London on Saturday night at the London Coliseum, and the audience is still reeling from the aftermath. The fabulous duo were at it again, blazing their way across a stage that seemed far too small for their gigantic leaps, defying gravity with the height of their jumps and going into spins that nearly bored holes in the stage floor. The pace started Olympic style, and continued to the final curtain call nearly three hours later.Read full review... | ||
| 27-Mar-2013 Barbican Centre: Art Gallery | A chance to dance: The Rambert Dance Company in Cunningham's RainForest at the Barbican | Katja Vaghi |
 More and more museums and galleries are opening their doors to dance. Even though performance is nothing new in art galleries, which sometimes feature them as independent artworks or as opening/closing events for exhibitions, dance is increasingly entering the exhibition circuit in the role of preserved art object. The Barbican, the Hayward Gallery and The Tanks at Tate Modern are only a few of the places that have hosted such reconstructions.Read full review... | ||
| 26-Mar-2013 The London Coliseum | Perfect partnership in Mikhailovsky Ballet Giselle | Margaret Willis |
.jpg) They’re finally here, back in London to wow audiences once again with their scintillating dancing. The darlings of the ballet world, Natalia Osipova and Ivan Vasiliev last appeared together in the capital two summers ago, and a few months later sent shock waves like the aftermath of an earthquake around the dance community when they announced that they were leaving their alma mater, the Bolshoi Ballet, to join the Mikhailovsky Ballet. There, in St Petersburg, the couple quickly made their mark, dancing continuously both classical ballets and body-slicing contemporary works.Read full review... | ||
| 24-Mar-2013 Sadler's Wells | Israel Galván presents his experimental La Curva at London Flamenco Festival | Cristina de Lucas |
 Israel Galván is nowadays a renowned and acclaimed flamenco artist. After years of consolidating good fame as a fine dancer, he started to create his own choreographies in 1998. From his first work, Mira!, he revealed a distinctive style installed in the most innovative and daring side of the flamenco panorama. He has just visited Sadler’s Wells, presenting his latest production, La Curva, at London Flamenco Festival.
Read full review... | ||
| 22-Mar-2013 Sadler's Wells: Lilian Baylis Studio | High-powered, avant-garde flamenco: Romances at London Flamenco Festival | Cristina de Lucas |
 It is certainly fortunate that this year London Flamenco Festival, which is proudly celebrating its tenth anniversary, has a small section in the programme entitled Beyond Flamenco. Comprising productions and events that offer a less orthodox look at this style of Spanish gypsy-rooted dancing, it complements the all-star programme in the Sadler’s Wells main auditorium. It is within this context that the smaller and more intimate stage of the Lilian Baylis Studio has hosted a work full of inventiveness and experimentation, Romances.
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| 20-Mar-2013 The London Coliseum | Nostalgia and magic: Birmingham Royal Ballet's Aladdin in London | Margaret Willis |
 The evening was a step back into childhood nostalgia, of getting on the hired coach with my brother and neighbours from our cul-de-sac, to drive up to London for the traditional Christmas pantomime. And, of course, Aladdin with all that mystical eastern magic was always a favourite with us kids. Now, with the holiday season well past, this same tale of intrigue and enchantment – albeit this time in ballet form – has been brought to the capital for eight performances by Birmingham Royal Ballet.
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| 20-Mar-2013 Royal Opera House: Linbury Studio Theatre | Arthur Pita's The Metamorphosis at the Royal Opera House | Erin Johnson |
 There isn’t much to say about Arthur Pita’s The Metamorphosis that hasn’t already been said. Returning the Royal Opera House’s Linbury Studio Theatre, this award-winning production is a dance-theatre imagining of Franz Kafka’s novella of the same name. I missed this production the first time, so was very interested in seeing it the second time around, and I wasn’t disappointed.
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| 15-Mar-2013 The Place | A versatile and unique night: bgroup's Just As We Are at The Place | Erin Johnson |
 bgroup’s Just As We Are had three very different sections, that explored a similar progression of ideas in three very different ways. In short, the pieces moved from focusing on one person, then two people, then everyone (audience included). However, the method and moods used in each gave the sections very distinct textures. I can’t quite tell you how, but director/choreographer Ben Wright pulls off this mash-up to give us a surprisingly unified night, with each piece hitting different notes.
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| 15-Mar-2013 Joyce Theater | Replicants dream of ballet: Carte Blanche at The Joyce | Ivan Talijancic |
 Carte Blanche is the national contemporary dance company of Norway, and they are presenting their work in New York for the first time as part of ICE HOT: A Nordic Dance Festival at the Joyce Theatre. According to the press release, Corps de Walk, the work set on the company by Israeli artists Sharon Eyal and Gai Behar (formerly of Batsheva Dance Company) and presented here this evening, is the choreographers’ investigation of corps de ballet, the ensemble that lives in the shadows of the principal dancers’ limelight.
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| 14-Mar-2013 Sadler's Wells: Lilian Baylis Studio | Ivan Blackstock's Wild Card at Sadler's Wells | Erin Johnson |
 I wanted to love Ivan Blackstock’s Wild Card night at Sadler’s Wells. With seven pieces, one pre-show performance and post-show DJs, there was almost three hours of material to engage with. I felt the passion Blackstock and his dancers had for their art, and their energy kept me going, almost. But as the night progressed, I struggled to enjoy the long-winded performance, and left wishing Blackstock had put more thought into curating the evening as a whole.
Read full review... | ||
| 9-Mar-2013 Triskelion Arts: Aldous Theater | Explosive performances of stripe associations in Stefanie Nelson's Oddball Zebra at Triskelion Arts | Rachel Rizzuto |
 Stefanie Nelson’s evening-length piece Oddball Zebra seemed less of a cohesive whole and more of a disjointed combination of separate vignettes. According to the press release, the piece was inspired by the “myriad social connotations and moral implications associated with stripes”; this could account for a certain amount of rambling, to be certain, when one considers just how many connotations there are with stripes, but each interpretation was far from clear – and the overarching result was one of confusion.Read full review... | ||
| 8-Mar-2013 Sadler's Wells | "Beautiful, yet strong": Classical masculinity on stage with BalletBoyz at Sadler's Wells | Katja Vaghi |
.jpg) When it started in 2001, the BalletBoyz seemed to be a flimsy flirt of one or two seasons at most. More than ten years later, after several award-winning productions, spellbinding collaborations and film creations, they are a company of ten with their own rehearsal studio, guest choreographers, and a loyal audience. Michel Nunn and William Trevitt have started to grow the enterprise, multiplying and transferring their skills to the next generation.Read full review... | ||
| 7-Mar-2013 The Place | Scottish Dance Theatre double bill at The Place | Erin Johnson |
 Scottish Dance Theatre returned to The Place last week with a programme that kept you guessing, laughing and sometimes feeling a little uncomfortable, but undoubtedly the best part of the evening was experiencing the expressive honesty of the performers. Beginning the night was Second Coming by Rubber Band Dance Company’s Victor Quijada, followed by Jo Strømgren’s chilling Winter, Again.Read full review... | ||
| 7-Mar-2013 New York Live Arts | Cinematic terabytes and fractal breakdancing: Hiroaki Umeda at New York Live Arts | Ivan Talijancic |
 It is safe to say that Hiroaki Umeda is a one-man operation, and on the occasion of his double-bill engagement at the New York Live Arts last week, he puts his physical and digital prowess on display full steam, or I should say, “full terabytes”, ahead. This Tokyo-based artist is not only the choreographer and the sole performer of this evening’s works, he is also responsible for designing – on his laptop, to boot – the visual and aural environment that envelops him.Read full review... | ||
| 6-Mar-2013 The Kitchen | Through a funnel darkly, with Michael Portnoy at The Kitchen | Ivan Talijancic |
 As I was leaving the upstairs gallery at The Kitchen last Wednesday night, thinking about what to tell you about the performance I had just seen, “You have never seen a game show quite like this” kept coming to mind.
Rewind.
Read full review... | ||
| 6-Mar-2013 New York City Center | Ballet Flamenco de Andalucía: A Spanish tradition live at New York City Center | Stephanie Sirabian |
 To be explicit, Ballet Flamenco de Andalucía is explosive. But to describe this show as just a dance performance would be negligent. The absolute power radiating from City Center’s stage this week comes not only from the dancers, but the musicians and the music, from traditions carried on in caves across the south of Spain. Instituto Andaluz del Flamenco has taken every opportunity to transport that unique experience across the world.
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| 5-Mar-2013 Place des Arts: Cinquième salle | T.R.A.S.H. attacks Montreal with its brutal brilliance | Nancy Berman |
 First, a warning: if you are feeling at all emotionally fragile, do not go see T.R.A.S.H. this week at la Cinqième Salle at Place des Arts, Montreal. If, however, you consider your sanity unshakeable, don’t miss it... but don’t be surprised if you leave emotionally spent.
Read full review... | ||
| 5-Mar-2013 Royal Opera House: Linbury Studio Theatre | An evening of novelty with Ballet Black's annual visit to the Linbury Studio | Cristina de Lucas |
 Just a few weeks after being awarded the prestigious 2012 Critics’ Circle National Dance Awards for Best Independent Company, Ballet Black has paid its annual visit to the Royal Opera House’s Linbury Studio, presenting four new ballets that confirm the strong commitment of the company to original works. The persistent commission of new choreography by both novice and established choreographers has become a symbol of Ballet Black’s identity and the bill in the Linbury Studio was a fascinating instance of this laudable policy.
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| 4-Mar-2013 Southbank Centre: Queen Elizabeth Hall | English National Ballet's Emerging Dancer Award showcases future stars | Antonia Salib |
 The fourth annual Emerging Dancer Award was a spectacular showcase for English National Ballet’s rising stars. The evening included performances from six members of the company, as well as a magnificent interlude from previous winners Yonah Acosta and Shiori Kase. Prizes on offer were Emerging Dancer and the People’s Choice, voted for by the public. The renowned judging panel included Darcey Bussel CBE, Tommy Franzen, Luke Jennings, Jude Kelly and English National Ballet’s Artistic Director, Tamara Rojo.
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| 2-Mar-2013 92nd Street Y, Lexington Avenue at 92nd | A pleasing amoeba of movement: Faye Driscoll's work in progress at 92Y | Rachel Rizzuto |
 The Doug Varone-curated Harkness Dance Festival at 92Y gives choreographers the rare chance to treat a workshop showing as a performance – that is, without the pressure of “presenting” a finished piece. Moreover, at Saturday night’s performance, Faye Driscoll had the luxurious opportunity to speak about her work-in-progress before the performance; the eager audience members were offered not only insight to the often deliberately ambiguous world of modern dance but also a small peak into Ms Driscoll’s dance mind.Read full review... | ||
| 27-Feb-2013 Joyce Theater | Martha Graham Dance Company at the Joyce wisely satisifies both tradition and the contemporary | Rachel Rizzuto |
 The dancers of the Martha Graham Dance Company may have been doing the repertoire of Ms Graham since the company’s inception in 1926, but Wednesday night’s program – featuring the work of four other choreographers – was proof that these are remarkably versatile dancers, capable of interpreting myriad forms of modern dance assuredly.
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| 23-Feb-2013 Greenwich Dance: Borough Hall | Double bill of dance in Greenwich: Amstatten by Robert Clark and Ordinary Courage by Theo Clinkard | Erin Johnson |
 Greenwich Dance and Trinity Laban have partnered to put on a double bill of work, bringing together Amstatten by Robert Clark and Theo Clinkard’s Ordinary Courage at Greenwich Dance Agency. Clark’s work was fleeting but impressionable, containing some very beautiful artistic choices made by Clark and his team or artists. Clinkard’s Ordinary Courage followed a very basic and predictable structure, but there were many moments when the dancing and choreography were able to draw the attention away from this methodical framework.
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| 23-Feb-2013 Sadler's Wells | Like lovers looking at the moon: Pina Bausch's Vollmond at Sadler's Wells | Katja Vaghi |
 There is nothing more fascinating than being able to see two pieces by the same choreographer a brief distance apart. This is particularly so if the choreographer is Pina Bausch. Last year, the company spoiled the London dance community with a ten-show marathon in a month-long residency at the Barbican and at Sadler's Wells, a titanic endeavour for dancers and technicians. Even though this year the company has presented only two works, it is still possible to see how Bausch’s style changed over the years.Read full review... | ||
| 22-Feb-2013 The Place | An athletic display of urban contemporary: 2Faced Dance Company's Out of His Skin | Erin Johnson |
 2Faced Dance Company’s new work Out of His Skin is a pure adrenaline rush. This all-male company, lead by director Tamsin Fitzgerald, proves what the young, skilled body can accomplish. Drawing from urban roots, the company has all the explosions and stunts of break dance, but the real excitement is watching these dance artists refine the breaking vocabulary to find new depths physically and emotionally.
Read full review... | ||
| 22-Feb-2013 Royal Opera House, Covent Garden | Two new works in an inspiring triple bill from The Royal Ballet | Cristina de Lucas |
 Last Friday, The Royal Ballet presented an exciting bill composed of George Balanchine’s iconic Apollo (1928) and two new ballets by acclaimed choreographers Alexei Ratmansky and Christopher Wheeldon. The programme was cleverly designed, since Ratmansky and Wheeldon are renowned explorers of the neoclassical style inaugurated by Balanchine. However, the success of the evening was uneven, since not all the pieces proved to be equally effective.
Read full review... | ||
| 19-Feb-2013 New York Live Arts | Juliana May's commentary = not thing goes the current route of in-your-face nudity | Rachel Rizzuto |
 Juliana May’s newest piece examines the correlation between the vulnerability of the human body and self-consciousness. And while I had a hard time finding moments in which the dancers seemed truly vulnerable, I think the audience, at least, managed to reap some real feelings of rawness and disquieting exposure.
Ms May’s piece is gestural, repetitive, and distinctly off-putting for about two-thirds of its duration. This is not to say that it is a work that falls short; I just wish there were a more original way to convey vulnerability than nudity.
Read full review... | ||
