Phoenix Rising
The traditional striped kabuki curtain of black, persimmon and green hangs tattered and faded. It’s our first hint of destruction.
Continua a leggere
World-class review of ballet and dance.
It’s been 25 years since William Trevitt and Michael Nunn swapped the Royal Ballet for the contemporary scene, building an imaginative portfolio across the stage and screen in step with choreographers like Russell Maliphant, William Forsythe and Christopher Wheeldon. Somewhere along the way the Boyz became men. It’s no longer just the two of them, and hasn’t been for quite a while—around 2014 the pair ceded the spotlight to an all-male-presenting ensemble, the Talent—but the boyish charm that fuelled their backstage exploits at the Royal (captured on video with a Channel 4 broadcast ahead of their breakout show at the Roundhouse, “Pointless,” in 2000) persists. This anniversary bill leans into their cheeky boyband image at every turn, from the knowing title (“Still Pointless”) to the programme insert (a commercial poster of Trevitt and Nunn, taut and topless, circa early 2000s).
Performance
Place
Words
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
The traditional striped kabuki curtain of black, persimmon and green hangs tattered and faded. It’s our first hint of destruction.
Continua a leggereOn the final weekend of August, Kaatsbaan Cultural Park presented Anna Sperber’s Bessie award-winning dance “Bow Echo” during the opening day of its 2026 Annual Festival.
Continua a leggereThere is site-specific dance—think Trisha Brown’s 1970 groundbreaking work, “Man Walking Down the Side of a Building”—and then there’s Sarah Gordon Butler’s “Hay Rake Ballet.”
Continua a leggereThis summer, hidden within the red brick warehouses and graffitied construction panels of industrial East Williamsburg, Brooklyn lay a secret garden.
Continua a leggere
comments