This triple bill weaves together works by three seminal twentieth-century choreographers: Jiří Kylián, John Neumeier and William Forsythe. As critic Sarah Crompton points out in the programme notes, each of these so-called ‘modern masters’ spent the early years of his career at the Stuttgart Ballet, where a hotbed of artistic innovation bloomed under the direction of the late John Cranko, who encouraged his dancers to create their own works during his reign as director in the 1960s. Together the works on display form a splendid retrospective on the ballet scene of the late twentieth century, and mark English National Ballet’s flagship performance as Sadler’s Wells Associate Company, a partnership I can't wait to see develop further.
James Forbat and Ksenia Ovsyanick in Jiří Kylián’s “Petite Mort.” Photograph by Amber Hunt
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
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading