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Our distinguished critic in residence has enjoyed another... The post Alastair Macaulay: The play’s not the thing appeared first on Slippedisc.
From our distinguished critic in residence, Alastair Macaulay… ... The post Alastair Macaulay: This Peter Grimes is the stuff of our lives appeared first on Slippedisc.
From out distinguished critic in residence: I: Cédric... The post Alastair Macaulay: Ravel emerges clearer in pink tweed appeared first on Slippedisc.
Our distinguished resident critic Alastair Macaulay reports this... The post Alastair Macaulay: It’s all change on the NY dance scene appeared first on Slippedisc.
From our distinguished critic in residence, Alastair Macaulay… ... The post Alastair Macaulay reviews a really bad hair night at Covent Garden appeared first on Slippedisc.
From our distinguished critic in residence, Alastair Macaulay… ... The post Alastair Macaulay: A voice so dark and arresting appeared first on Slippedisc.
From our distinguished critic in residence, Alastair Macaulay…... The post Alastair Macaulay: Rupert Murdoch reaches seven last words appeared first on Slippedisc.
Jonathan Gray sees a myriad of fine performances on Mayerling's opening night, but none finer than Matthew Ball in Laura Morera's detailed revival for The Royal Ballet.
Graham Spicer sees La Scala’s thrilling contemporary programme: Wayne McGregor’s Chroma, Jean-Christophe Maillot’s Dov'è la luna and Ohad Naharin's Minus 16.
Matthew Paluch sees The Great Chevalier, in which the diva-ish Mr Chevalier shares the stage with his company's Executive Director Simone Mousset, in a work often uncomfortably clo...
From our distinguished critic in residence, Alastair Macaulay:... The post Alastair Macaulay: Song competitions can be the death of art appeared first on Slippedisc.
Kathrina Farrugia-Kriel sees Wayne McGregor: Alchemies with The Royal Ballet – This exhilarating triple bill is the very essence of alchemies of curiosity: absorbing, engaging, dar...
Jonathan Gray sees Calvin Richardson's debut in Mayerling with The Royal Ballet – Tall, elegantly proportioned, expressive and blessed with great physical strength.
Jonathan Gray has been admiring Robert Carter’s dancing for over 30 years, now on his last tour with The Trocks, who were “a delight from start to finish”.
Sadler’s Wells, LondonTap, waacking, jookin’, footwork and jit are among the traditional, street and club styles that come together as Michelle Dorrance showcases a startling array...
Lily Hyde sees BRB's Don Quixote and is impressed by the lead dancers, the orchestrations, and the design, though disappointed by the corps de ballet.
Lily Hyde sees William Bracewell's debut in Mayerling – one of The Royal Ballet’s most intelligent dancers, a singular performer who evades comparison.
The Mount Without, Bristol Fame’s Antonia Franceschi delivers a double portrait of Krasner, with music by Claire van Kampen, plus there’s a superb solo from Edward WatsonTwo notabl...
Graham Spicer sees the Milanese edition of Daniele Cipriani’s Les Étoiles gala and enjoyed its varied offerings, with Natalia Osipova and Aurélie Dupont stepping in at the last min...
Graham Watts sees Tulsa Ballet’s ‘Made in America’ triple bill at Royal Ballet and Opera – a young, dynamic ensemble, with an overarching sense of theatre.
Graham Watts sees James Pett and Travis Clausen-Knight with Isabelle Evans – a rare opportunity to see them in a full-length show.
Lily Hyde sees BalleyBoyz’s 'Still Pointless' programme, admiring the company’s ten accomplished dancers, but finds some works… pointless?
Christopher Corwin and Andrew Lokay provide dual perspectives on the National Symphony Orchestra's performances of Puccini's triple-bill.
The Place, London This double bill from choreographers James Pett and Travis Clausen-Knight features fluent steps, tension and expression, but their expressed human connection to a...
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