Akram Khan
Deeply impressive and beautiful: Akram Khan’s Gigenis reviewed
After taking a wrong turn culminating in the misbegotten Frankenstein, Akram Khan has wisely returned to his original inspiration in…
Expressive and eloquent: Northern Ballet’s Three Short Ballets reviewed
Ballet companies have become dismally timid about exploring their 20th-century heritage: everything nowadays must be either box-fresh new or a…
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…
Bar-room ballet
Thank God for the fast-forward button. Sadler’s Wells had planned a tentative return to live performance last month but the…
A smidge of self-indulgence amid the power and grace: Akram Khan’s Xenos reviewed
‘Comedy Sunil Lanba, Salman Quaraishi, Omar Syed…’ Names play from a crackling gramophone. We hear what they were before the…
Second thoughts
You revisit an old love with wariness. Time’s passed for both of you — sharp edges have been smoothed, and…
Unforgettable fire
How much of a compromise does a fashionable choreographer loved by all have to make with his paymasters? When he’s…
Fighting talk
If there’s one thing scarcer than hen’s teeth in serious choreography nowadays, it’s a light heart. When was the last…
Afterthoughts
The blackness that sweeps along the stage behind Sylvie Guillem’s disappearing figure in the Russell Maliphant piece on her farewell…
The long goodbye
There’s been a clutch of middle-aged danseuses taking leave of life in one way or another recently. We’ve seen the…
Dance One last dance
I’m dashing between dance theatres at the moment and there’s just so much to tell you about. I could linger…
Autumn round-up
This has been an extraordinarily exciting fortnight, on and off stage. Premieres in anything from ice-skating to classical ballet, charismatic…
