A review of the English National Ballet
in 'Strictly Gershwin' by Sarah Frater in The Evening Standard.
ctions of it are immensely good fun, and almost all of it is well danced by the ENB company, plus several guesting dancers including Tamara Rojo from the Royal Ballet, Guillaume Cote from the National Ballet of Canada, and Friedemann Vogel from Stuttgart Ballet. The Latin American dance champs Bryan Watson and Carmen were on slinkily good form, with her wearing what has to be the foxiest fringed leotard on the planet. She also dancers superbly in her high heels, which requires very considerable skill.
Judith Flanders' review
for The Arts Desk.
I can’t remember ever enjoying any theatrical experience less. The Albert Hall is not in any case a place for dance – dance in the round is a contradiction in terms, it simply means everyone has a bad seat. But at Strictly Gershwin I swiftly realised not being able to see was no bad thing. Derek Deane is not so much a choreographer (see his Swan Lake in the round if you don’t believe me) as a marshaller. He pushes groups here, he pushes them there, and everyone valiantly pretends it’s dancing. But his steps are risible, there is no aesthetic motivation at all – old-fashioned ballroom sequins seem to have him fatally in thrall.