People, Places, and Things
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
Continua a leggereWorld-class review of ballet and dance.
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.
Performance
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Alina Cojocaru and Johan Kobborg in “Reminiscence” by Tim Rushton. Photograph by Andrej Uspenski
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Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
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