Dein Perry’s Tap Dogs at the Peacock Theatre 24/10/18

TAP DOGSDein Perry’s Tap Dogs is a tap show unlike any other. The execution is crisp and slick; each inventive segment is an exciting watch, with an innovative use of set and lighting alongside complex choreography. Forget the elegant moves of Fred Astaire, here the set is a gritty construction site and its dynamic cast of six are dressed for a day’s manual labour.

An Australian sensation, Tap Dogs was devised by Dein Perry in 1994 with the show debuting at the 1995 Sydney Festival. It has gone on to receive numerous international awards and enjoyed a lengthy run of uninterrupted touring around the world.

On first inspection the set appears simple, if a little haphazard, with a central platform for tapping and a staircase behind, but with each new section the set unfolds to create a fresh setting, and the cast act as workmen on a building site. There are metal arches which they swing from, and platforms created from steel girders that are later filled with water to create a memorable finale. With each set change the technical demands increase.

Each dancer brings their own style and flair that Perry incorporates into the staging and choreography. As the foreman, Anthony Russo is the leader of the tap pack, who orchestrates the set changes. He takes great pleasure in berating the show’s youngest contributor, Kid Reid Perry, whose cheeky asides to the audience ensure popularity.

Read the full review on 


Mayerling at Royal Opera House 13/10/18


It’s never easy to debut in a role when half the audience bought tickets to see someone else, but this was the situation Ryoichi Hirano faced last week as announcement of Edward Watson’s injury was made.

Watson is known for his compelling portrayal of the multifaceted role of Crown Prince Rudolf of Austria. Nonetheless, Hirano makes an honourable go of the challenge, assisted ably by a stellar female line-up in MacMillan’s now 40-year-old ballet.

Hirano’s troubled protagonist displays flashes of storminess in the opening two acts, but not quite enough to convince the audience of his turmoil. He is a fine and controlled dancer, but at times he doesn’t convey Rudolph’s psyche with the maturity needed, instead coming off a little aloof and detached. His portrayal doesn’t noticeably develop until he hits his stride in a devastating Act Three conclusion.

Of the many wonderful female interpretations perhaps the most unforgettable is from Principal Francesca Hayward, whose ease of movement and commitment to the role of Princess Stephanie makes for wonderful storytelling.

Her petite stature makes her terror in face of Hirano’s towering presence all the more believable. She is stoic in her duty to her husband during the court scenes whilst in private with him she trembles, but fights gallantly.

Read the full review on 

Carlos Acosta: A Celebration at the Royal Albert Hal 02/10/18

3 Carlos Acosta - A Celebration at the Royal Albert Hall 2 to 5 October 2018 Credit Tristram KentonNearly two years ago to the day, Carlos Acosta presented A Classical Farewell at London’s Royal Albert Hall, a mix of solos and pas de deux with his esteemed Royal Ballet colleagues to celebrate his career.

Fast-forward to 2018 and he’s still saying farewell, but now with a focus on the future through his dynamic Cuban company, Acosta Danza.

There are sadly a number of issues when it comes to the Albert Hall as a venue for dance that hinder the enjoyment of the evening. The flat level arena seating makes for, frankly, terrible sight lines. In the opening contemporary numbers where dancers repeatedly drop to the floor, arena-based audience will lose sight of them completely.

A quick glance at ticket prices informs me that seats here cost £79. If you’re of small stature these are to be avoided; many located here on press night moved elsewhere after the interval.

Seating aside, and what of the dancing one could see? …

Read the full review on

Image: Tristram Kenton

New English Ballet Theatre at the Peacock Theatre 28/09/18

NEBT in 'REMEMBRANCE' by Wayne Eagling. Photo by Deborah Jaffe (6) (1)

Since launching in 2011, New English Ballet Theatre (NEBT) has established itself as a leader in nurturing young talent and offering professional opportunities for dancers, choreographers and designers. Each year, the company seeks to create new work to share with audiences up and down the UK, and this time it brings a double bill of contrasting pieces to the Peacock Theatre.

It features lively choreography from Jenna Lee to Max Richter’s reworking of Vivaldi’s The Four Seasons, alongside a new creation from Wayne Eagling (lately Artistic Director of English National Ballet). Eagling’s Remembrance follows the wartime experiences of British ballet pioneer Marie Rambert and her husband Ashley Dukes, to a stirring Handel score.

Lee’s The Four Seasons is a stylish affair, thanks in part to April Dalton’s fine costuming. Each season is clearly signposted, not only by the choreography that integrates the pas de deux with strong full ensemble sections, but also by Andrew Ellis’ vivid lighting.

The opening moments of Spring fizzle with nerves and the occasional wobble as the 13-strong company settle into the energetic choreography.

With the warm hues of Summer comes the standout pas de deux of the piece from Sophie Allnatt and Benjamin Holloway, who execute the choreography in spritely fashion while remaining neat and compact in the bold jetés and shapes that denote the season.

Read the full review on 

Image credit: Deborah Jaffe

English National Ballet’s Lest We Forget at Sadler’s Wells 20/09/18


It can be a rarity, but every so often, perhaps once a year if you’re lucky, you stumble across a work so sublime it leaves you a little stumped as to how to describe it. Unfortunate when you need to review it, however.

English National Ballet’s Lest We Forget first opened in 2014, marking the 100th anniversary of the beginning of the First World War. Just two years into Tamara Rojo’s tenure as Artistic Director, it was a bold statement about where the company was heading. Four years later, it sits proudly in their repertoire, a modern masterpiece to absorb, devour and shed a tear.

Liam Scarlett’s No Man’s Land is an emotive opening, tracking the separate roles of the men and the women and the desperate longing the war puts between them. Scarlett is aware his strengths lie within the classical vocabulary and the imagery packed into the piece responds to this; we see the women wrap their arms around the torsos of their men representative of the straps of heavy backpacks, the repetitive work done by the women in factories, and all plagued by fatigue and loneliness – to Franz Liszt’s turbulent score.

The piece is characterised by three lead partnerships, the standout of which is Alina Cojocaru and Isaac Hernandez. It is preceded by some adventurous choreography for the other two couples with breathtaking lifts and jumps upon being reunited. However, for Cojocaru, her partner does not return, as she waits, lit by a single spotlight. She reaches out to touch the absent Hernandez face as he disappears before her in a heart-wrenching sequence that tracks her grief

Read the full review on 

Photo: Laurent Liotardo

Natalia Osipova ‘Pure Dance’ at Sadler’s Wells 13/09/18

Leaves are FadingPure Dance, assembled and directed by Natalia Osipova herself – taking a break from her busy schedule as a Principal at the Royal Ballet, and guest Principal at American Ballet Theatre (ABT) – consists of six very different pieces. Four are world premieres, and of these one is the pick of the first act: Ivȧn Pėrez’s Flutter.

Performed with the secure partnering of former Rambert dancer Jonathan Goddard, it gets off to a slow start with unstructured choreography, as the pair run from the darkness at the back of the stage into the light at the front. Initially they are joyful and leap gleefully; but later we see ripples of tension as Nigel Edwards lighting switches from soft glow to a starker and exposing white. Although it’s a struggle to see the promised ‘journey of discovery’ from the programme notes, Osipova’s beautifully fluid, light movements are still a triumph, especially in the sequences of aerial choreography which seek to evoke a sense of flight.

Aside from this Act One is a little sparse. Antony Tudor’sThe Leaves are Fading is a sweet opener, but lacks impact. It gives many in the audience their first glimpse of Osipova with her preferred partner, ABT’s David Hallberg. The two share a delicate chemistry and demonstrate a well established partnership, but at just seven minutes, the segment leaves you wanting more.

Read the full review on

Image: Johan Persson

St Petersburg Ballet Theatre’s Swan Lake at the London Coliseum 23/08/18

Dmitri Akulinin and Irina Kolesnikova- photo credit Vladimir Zenzinov

London dance fans are still reeling from the glorious opulence of Liam Scarlett’s new Swan Lake for the Royal Ballet. Heavy with emotion, high on budget and dramatic staging, it’s in stark contrast to the precise, drilled and efficient Swan Lake courtesy of Konstantin Tachkin’s St Petersburg Ballet Theatre, playing at the London Coliseum this August.

The production is led by the company’s only prima ballerina, Irina Kolesnikova, a dancer so ubiquitous she headlined her own season in London three years ago, alongside young Bolshoi Principal Denis Rodkin.

In many ways, this typically Russian Lake is entirely predictable. The corps of shimmering swans are disciplined but uninspired. Tchaikovsky’s score never fails to captivate, but there are no goosebumps when the stage is filled by countless white tutus and wafting arms, nor when Rothbart and Odile enter the ball in Act III. Fortunately, Kolesnikova provides the much-needed drama, adding intrigue to this otherwise slightly bland production.

Read the full review on 

Image: Vladmir Zenzinov