Saturday, April 6

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A review of the Dutch National Ballet by Vikki Jane Vile for Bachtrack.

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My understanding of Dancing Dutch, without closer inspection, was a celebration of dance from four Dutch choreographers, but upon seeing a certain David Dawson and Jiří Kylián in the line up, I realised this was not the case. Four choreographers of mixed origins, it may be so, but who have “roots” in the Netherlands it transpires. No matter for the titular sleight of hand however, because Dancing Dutch is a romp of a programme, powered by Dutch National Ballet’s (DNB) technical excellence and four choreographers, from the up and coming to the internationally renowned.

 

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The National Ballet of Cuba visits Spain.

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The performance within the Dance Festival that has taken place since March 13 in the capital of the Principality of Asturias, also featured Luis Fernández (bullfighter Espada), Estefanía Hernández (Queen of the Dryads), Roberto González (Sancho Panza), Alianed Moreno (Amor) and Carlos Lino (Camacho).

 

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A review of the Trocks at the Kennedy Center by Emily Berger for Broadway World.

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Thursday’s highlight was the first work on the program, Act II of Swan Lake, with choreography inspired by Ivanov’s original steps. The Swan Queen’s (Colette Adae) solo in particular was outstanding; her powerful turns and presence commanded attention. Araf Legupski as Prince Siegfried was less stately but demonstrated strong partnering skills. 

 

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A review of the Royal Ballet by Jenny Gilbert for The Arts Desk.

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But MacMillan’s shorter pieces have challenged the art form in a greater variety of ways. They have arguably also done more to shape the collective identity of the company that he tried several times to escape but which repeatedly drew him back like a magnet. The Royal Ballet’s latest bill offers three highly contrasted samples of that creative output, none of which has been seen for years: a piece from the start of MacMillan’s career, one from the middle and one from the end. Their sheer range of invention leaves most of today’s choreographers looking like one-trick ponies, and it’s to be hoped that next week’s cinema broadcasts will – with the benefit of up-close camerawork – underline that inventiveness in all its dazzling detail.

 

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A review of Ballett am Rhein by Vikki Jane Vile for Bachtrack.

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This is a programme that warms up as it goes along, which is unfortunate as some audiences left before Demis Volpi’s Non-Fiction Études. It explores the life of troubled American writer Truman Capote, who besides being best known as the author of Breakfast at Tiffany’s, published a real-life crime book in 1959 about a quadruple murder in Kansas. All the dancers inherit the role of Capote at some stage, capturing a multi-faceted personality. However it is Daniele Bonelli who stands out, his body switching from calmly undulating to stilted skittishness. The opening moment where he moves in silence is captivating, Bregje van Balen’s red mesh costumes allowing us to see the quiver of every muscle and to feel every breath.