Sadler’s wells

A last dose of vitamin D before the clocks go back: Royal Ballet’s triple bill reviewed

2 November 2019 9:00 am

Were those gerberas in Francesca Hayward’s bouquet on opening night? Gentlemen admirers take note: no woman, ballerina or otherwise, has…

Nothing sings and shimmies like Alvin Ailey

14 September 2019 9:00 am

Hit them with your best shot? Or save the best till last? Almost 30 years after Alvin Ailey’s death in…

Daffy charm and diabolo tricks: Bolshoi's The Bright Stream reviewed

17 August 2019 9:00 am

The Bright Stream is a ballet about a collective farm. Forget everything you know about collectivism — the failed harvests,…

Electrifying: English National Ballet's She Persisted reviewed

13 April 2019 9:00 am

‘Where was the Kahlo brow?’ asked my guest in the first interval of English National Ballet’s She Persisted, a triple…

A masterclass of menace and magnificence: Romeo and Juliet reviewed

6 April 2019 9:00 am

Two households, both alike in dignity. Capulets in red tights, Montagues in green. Kenneth MacMillan’s Romeo and Juliet opens in…

Odious, endless dross: Tanztheater Wuppertal Pina Bausch reviewed

2 March 2019 9:00 am

Please believe that I try to give every production my full attention, to do due diligence, to blink and miss…

January as you would wish it: Royal Ballet’s Les Patineurs reviewed

5 January 2019 9:00 am

The Royal Ballet’s Les Patineurs is January as you would wish it. No slush, no new-year sales, no streaming chest…

Jill Johnson and Christopher Roman in William Forsythe’s Catalogue

William Forsythe on the day the US government threatened to arrest him

6 October 2018 9:00 am

Emma Byrne meets the choreographer who has done more than any other to push the limits of what ballet might be

Akram Khan in Mirella Weingarten’s starkly stupendous set

A smidge of self-indulgence amid the power and grace: Akram Khan's Xenos reviewed

9 June 2018 9:00 am

‘Sunil Lanba, Salman Quaraishi, Omar Syed…’ Names play from a crackling gramophone. We hear what they were before the war.…

How do these Shaolin monks square six shows a week with monking?

How do these Shaolin monks square six shows a week with monking?

14 April 2018 9:00 am

The Shaolin monks are no strangers to the stage. Their home in Dengfeng is a major stop on the Chinese…

Paying homage to the seated diva: a still from the 2016 documentary about La Chana

Louise Levene meets the tormented queen of flamenco, who bewitched Dali & Peter Sellers

3 March 2018 9:00 am

Louise Levene meets the great Gypsy dancer La Chana, who bewitched Dali and Peter Sellers

The nymphs are hit and miss, but Osipova is a witty, multifaceted Sylvia: the Royal Ballet’s Sylvia reviewed

16 December 2017 9:00 am

You can pay homage to a ballet classic or you can tear it up and reinvent it. Both approaches were…

Company Wayne McGregor — Autobiography at Sadler’s Wells

Dancing the genetic code, big girls’ blouses and a ballroom bitch: Sadler’s Wells roundup

28 October 2017 9:00 am

Ballet would have been an obvious revenue stream for Sadler’s Wells when it reopened back in 1998 but straight-up classics…

Dancers of the Royal Ballet in Christopher Wheeldon’s Alice’s Adventures in Wonderland

Royal Ballet's Alice is a joy to look at - if only it weren't such a bore

7 October 2017 9:00 am

Alice is at it again. Christopher Wheeldon’s 2011 three-act ballet began another sell-out run at Covent Garden last week. It’s…

Bring on the dancing-girls: Follies at the Oliver

It’s hard to care about these geriatric bed-hoppers: Follies at the Olivier reviewed

16 September 2017 9:00 am

Stephen Sondheim’s Follies takes a huge leap into the past. It’s 1971 and we meet two middle-aged couples who knew…

The mechanicals: the dancers in Wayne McGregor’s ‘Tree of Codes’ interlock but they never really interact and we are left humming the scenery.

Music and dance are totally eclipsed by the setting: Tree of Codes reviewed

18 March 2017 9:00 am

The exit signs were switched off and the stalls were in utter darkness. One by one, 15 invisible dancers, their…

Too much redemption, not enough damnation: Matthew Bourne’s The Red Shoes reviewed

14 January 2017 9:00 am

From a film about ballet to a ballet about film. In reworking the 1948 Powell and Pressburger classic The Red…

Intimations of perplexity: Joanna Dudley in ‘Lulu’ at ENO

A work of enormous allure – and repulsiveness: ENO's Lulu reviewed

19 November 2016 9:00 am

I wonder why ENO has invested in a new production of Berg’s Lulu, when the previous one, which we first…

From spiritual transcendence to gender warfare: Alvin Ailey American Dance Theater review

17 September 2016 9:00 am

For a regular dancegoer in New York City, the Alvin Ailey American Dance Theater seasons arrive with the comforting predictability…

Peter Wright rehearses Giselle with the Canadian ballet dancer Karen Kain in 1974

Peter Wright and the bitchy world of ballet

3 September 2016 9:00 am

Memoirs of old men, baldly, tend to be tricky. Sir Peter Wright, one of the founding pillars of the British…

Osipova and Polunin are great classical dancers, but here they have little to dance

9 July 2016 9:00 am

The Bolshoi Ballet’s wunderkind ballerina Natalia Osipova defied received wisdom when, in 2012, she cast off from the great Moscow…

A stylish, profound 20-minute dance distillation of Othello at Birmingham Royal Ballet

2 July 2016 9:00 am

Paradoxically, some ballet masterworks absolutely depend on tiptop performing to demonstrate how great they are. If they don’t get it,…

Was this spectacular performance at the Royal Albert Hall Tamara Rojo’s final Swan Lake?

18 June 2016 9:00 am

Was Tamara Rojo, when she danced Swan Lake last Saturday at the Albert Hall, thinking as she shaped each phrase,…

Vile body: Steven McRae as the Creature in ‘Frankenstein’

The Royal Ballet is literally losing the plot

21 May 2016 9:00 am

If a football manager produces a string of losses, the writing is on the wall and out he goes. He’s…

Predictably meh: Scottish Ballet’s new Swan Lake reviewed

7 May 2016 9:00 am

Every ballet company wants a box-office earner. But why Scottish Ballet’s leader Christopher Hampson kept on at David Dawson until…