Alina Cojocaru’s technical fluency and stirring artistry have propelled her to starred ranks at both the Royal Ballet and English National Ballet. The Romanian luminary’s new self-assembled programme at Sadler’s Wells highlights this eloquence, taking a look at the many languages of ballet she’s perfected in her two decades on stage, from soft classical displays to exuberant contemporary tangles. Interestingly, there are no glimpses of Giselle or Aurora or the other marquee roles Cojocaru has built her name on; instead it’s mostly short pieces created on her in recent years, topped off with Frederick Ashton’s one-act “Marguerite and Armand”—a Royal Ballet mainstay, though not one she herself ever danced with the company.
Alina Cojocaru and Johan Kobborg in “Reminiscence” by Tim Rushton. Photograph by Andrej Uspenski
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading