To have and to hold
When you take in the richness of a Pina Bausch production — the redolent staging, the eloquent, eccentric twists of…
All that pizazz
Velvet waistcoats, technicolour tulle and some very spangly harem pants — English National Ballet’s atelier must have been mighty busy…
Sleeker than its scrappy parts
The Barcelona-born choreographer Joan Clevillé has form for off-beat storytelling with a streak of sincerity. Before becoming artistic director of…
Sin and salvation
Where does the artist end and their work begin? Like 2015’s Woolf Works, Wayne McGregor’s new ballet swirls creator and…
There will be blood
Like musical supergroups and Olympic basketball teams, ballet galas tend to prize individual gifts over group cohesion. A recent one…
Just the ticket
Last week I attended a dance performance in person for the first time since March last year. If you’d asked…
Cheerleaders, cultists and King Kong
Social distancing continues to put the kibosh on large-scale productions, but Jo Stromgren has a nifty workaround in Rooms, which…
Rhapsody in blue
When Carlos Acosta was named artistic director of Birmingham Royal Ballet in January of this year, he announced ambitious plans…
Sprinting in the sand
Dancing at Dusk captures the final rehearsal of a new version of Pina Bausch’s The Rite of Spring. It’s only…
Eroticism and ecstasy
Wayne McGregor’s Morgen! and Frederick Ashton’s Dance of the Blessed Spirits are the first pieces of live dance — streamed…
Uplift
If eight weeks in lockdown have brought out my baser impulses (biscuits by the sleeve, total renunciation of waistbands), it’s…
The Boyz are back in town
Another day in isolation, another bid to find joy in my lone state-sanctioned walk. (Pro tip: stay out longer than…
This will hurt
Pina Bausch’s best work always hovered between the familiar and the unknown. The late choreographer revelled in borders and thresholds,…
Hair down in a sea of chignons
The January dance stage can be a site of naked contrition. Like a tippler grasping at green juice after a…