dirac Posted June 27, 2021 Share Posted June 27, 2021 A review of English National Ballet by Lynette Halewood for DanceTabs. Quote The duet from Akram Khan’s Dust (made for ENB in 2014) which follows is a much darker piece, more of a challenge to absorb shorn of its context. James Streeter nevertheless makes a considerable impact as the traumatised soldier unable to reconnect with his wife Erina Takahashi. The duet really takes off when she locks her legs around his waist and leans back. They become one conjoined creature, and she winds and slides up, around and over him. It’s a great piece of fluid partnering, brilliantly performed by a closely attuned couple. Jenny Gilbert's review in The Arts Desk. Quote Today, ENB is a very different beast from its first, 1950s incarnation in one very striking respect: it’s no longer predominantly white. Although classical dance has a better record on racial diversity than some other performance disciplines, over the nine years of Tamara Rojo’s reign at ENB, it has made enormous strides. No company, with the exception of Ballet Black, has done more to change the look of ballet in Britain, alongside a noticeable raising of technical standards among the men. Whether or not one has led directly to the other (and it's distinctly possible), it’s all to the good. The result is a more exciting presentation all round. Link to comment
dirac Posted June 27, 2021 Author Share Posted June 27, 2021 A look at sensational stories emanating from the world of Russian ballet by Tom Parfitt in The Times. Quote Vladimir Kekhman, 53, a former fruit tycoon who became artistic director of the Mikhailovsky Theatre in St Petersburg, claimed this week that he had cancelled all of Natalia Osipova’s future performances after she failed to appear in La Bayadère at the Mikhailovsky on Thursday. Link to comment
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