Jonathan Miller’s triumphant staging of Donizetti’s comic masterpiece 'The Elixir of Love' returns to the London Coliseum this September for a limited run of only nine performances, while Fiona Shaw brings her unique creative flair to a major new production of Mozart’s immensely popular classic 'The Marriage of Figaro' in October.
They need to spread their wings
A fitting farewell to a giant of dance
This Romeo is all over the place. On the one hand, it stars the Bolshoi's magnificent Ivan Vasiliev and Natalia Osipova – charisma to their fingertips, his lithe warmth to her fizzing attack. On the other, this is a production where designs, performance styles and even venue haven't been introduced to each other.
There is no disputing that dance is having a moment in the sun. And that's as true for watching it as for doing it. But this isn't just about couch potatoes slumping in front of spangly TV talent shows. Notwithstanding the recent cuts passed on by Arts Council England to many of its clients, a review of ACE-funded organisations has revealed dance as the fastest growing of all the arts, with attendances up by 103 per cent over 12 months. Another survey, of theatre audiences in the West End of London, found that 71 per cent of people attending dance shows rated their experience as "very good", compared with an average of 63 per cent across all the theatre arts. Whatever form it takes, dance is clearly perceived as providing a memorable night out.
Les Saisons Russes du XXIe Siecle
Serge Lifar's Suite en Blanc opens with an image of a ballet company. The dancers are posed in serried ranks, in plain tights and white tutus. It's a large-scale showcase – but it needs more clarity and confidence than English National Ballet show us.
With poise, grace, and no noticeable nervous wobbles, the finalists of the Young British Dancer of the Year award line up after performing at the Royal Opera House on Saturday.
Though English National Ballet's new Nutcracker is a long-awaited production, it seems to have been rushed on to the stage. It has handsome designs, Tchaikovsky's score and some strong dancing, but suffered a case of first-night nerves. Some dances were under-rehearsed; at least one special effect went awry. The production and company need to take a deep breath and calm down.
On Friday night the English National Ballet unveils a new Nutcracker, its 10th production of the seasonal classic in 60 years. Alice Jones drops in on rehearsals to discover the secret of its enduring appeal
The Week in Arts
Star power will get you only so far. Carlos Acosta's name, one of the biggest in ballet, is the selling point for this evening of new works and debut performances. You'd be better off seeing him in almost anything else.
A gala should not be an endurance test. Ensemble Productions' Homage to Nureyev has a starry international cast, and some fine performances, but heavens, it's long. Close to four hours of short numbers, this tribute to the great 20th-century ballet star was epically episodic.
English National Opera’s new staging of Janacek’s heartbreaking Katya Kabanova is cast big: big voices, big performers casting big shadows.
'In Sofia, they had to hose ice off the plane'
Michael Corder's The Snow Queen is glittering but bland. Adapting Hans Christian Andersen's tale for English National Ballet, he has chosen sparkling Prokofiev music with traditional designs and classical steps. He gives the dancers plenty of technical challenges, but not much to get their teeth into.