In Orbit
To travel around, like the Earth in its recurrent, elliptical revolution around the sun, is no mean feat. Touring is a complicated, lengthy and costly affair.
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).
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To travel around, like the Earth in its recurrent, elliptical revolution around the sun, is no mean feat. Touring is a complicated, lengthy and costly affair.
Continua a leggere“Specky Clark” opens with a bang, then a whimper. The bang is the titular Specky’s mother, dropping dead onto the kitchen floor.
Continua a leggereThe sought-after choreographer Aszure Barton and award-winning composer Ambrose Akinmusire bend their individual arcs toward one another in their collaborative, multi-disciplinary work titled “A a | a B : Bend,” presented as part of Lincoln Center’s Pasculano Collaborative for Contemporary Dance.
Continua a leggereThere's a wonderful collection of photographs from 1911 of Nijinsky taken by Auguste Bert. Nijinsky was 21 and at the peak of his dance career.
Continua a leggere
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