Tetsuya Kumakawa, In the Comfort Zone
For a man considered an icon in Japan’s performing arts world, Tetsuya Kumakawa, in person, is surprisingly down-to-earth.
PlusWorld-class review of ballet and dance.
Together self-declared “dance artists” Eleanor Sikorski and Flora Wellesley Wesley are Nora, a spirited double act with a deliciously irreverent feminist streak. The pair studied together at London Contemporary Dance School and recently premiered their first evening-length programme, a triple bill of duets they conceived in conjunction with four guest choreographers: Jonathan Burrows, Matteo Fargion, Simon Tanguy and Liz Aggiss.
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Nora performing “Bloody Nora.” Photograph by Camilla Greenwell
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For a man considered an icon in Japan’s performing arts world, Tetsuya Kumakawa, in person, is surprisingly down-to-earth.
PlusAmelie Ravalec is a London-based French film director and producer, photographer, publisher and colourist. Her internationally screened films include Art & Mind, Paris/Berlin: 20 Years Of Underground Techno and Industrial Soundtrack For the Urban Decay.
PlusA stool, a clothesline, a hanging sheet. But for these three things, the stage set for “Woolgathering” was largely empty. “Woolgathering” is a ‘spoken word opera’ directed and composed by Oliver Tompkins Ray with choreography by John Heginbotham, inspired by the poetic memoir by Patti Smith.
PlusThe American Ballet Theatre’s opening bill was not a hole-in-one, but the ideas behind the programming were sound: feature a new work that builds upon company traditions (Gemma Bond’s “La Boutique”), push the dancers in a different style by a hot choreographer (Kyle Abraham’s “Mercurial Son”), and show off the troupe’s prodigious technical chops in a grand manner (Harald Lander’s “É tudes”).
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