Matthew Paluch - Page 8

The Bold Tendencies Communion season came to an end last night, and it didn't go quietly. With 119 musicians of the Philharmonia Orchestra, 100 members of the Philharmonia Chorus and two soloists sopranos, conductor Nefeli Chadouli led the vast troupe in Gustav Mahler's Symphony No 2 'Resurrection’.

The Queen Elizabeth Hall Foyer turned into a gig venue on September 13th for Concrete Lates x Fabric. The lights were low, the crowd was very cool, and the “iconic electronic music institution Fabric” was celebrated for the role it's played in the dance music scene over the last 25 years.

I've said it before, and I'm sure I'll say it again…but what The Coronet Theatre is doing feels new, relevant and exciting. Currently on show is The Belt - Past & Future by Korea's Ambiguous Dance Company. The work is The Coronet's first-ever site-specific event, and I think it's an absolute corker.

“Visionary British composer Oliver Leith makes music that brings people together” seems like a very good place to start. Judging by the massive crowd at Bold Tendencies on September 7 he does just that.

It's not often one comes across theatre that's transformative; but when you do, you know. Case in point: ZooNation’s The Mad Hatter's Tea Party.

Since 2007, Bold Tendencies has been bringing “radical practices, new generations of talent, learning opportunities and sought-after disciplines to Peckham” - and judging by the performance I saw: Julia Bullock and Bretton Brown, the original mission is still very much in full swing.

There’s been a number of skill-based shows in London of late, and joining the current trend is Afrique en Cirque created by Yamoussa Bangoura, at the Queen Elizabeth Hall.

Bangers, written by Danusia Samal was first performed at the Soho Theatre in 2022, and in Edinburgh in 2023. It returns for a third stint at the Arcola Theatre and one can understand why. 

Before I Go, first seen during the Brixton House's Housemates Festival in summer 2023, is a one hour work written by Tobi King Bakare that centres on Ajani, a young, black man who has issues with communication when it really matters.

National Youth Dance Company has been running since 2013, and acts as “England’s Flagship youth dance company”, the brainchild of, and run by Sadler’s Wells. The (Guest) Artistic Directors read like a who’s who of present day contemporary dance royalty, and 23/24 sees Oona Doherty take up the prestigious role.

Two for the price of one isn’t always a good deal, but Deux Grandes Dames with Melissa Errico & Isabelle Georges at Crazy Coqs - Brasserie Zedel is a dynamic vehicle for the two “tall” & “leading” ladies.

The Next Generation Festival continues at the Royal Opera House with Rambert School. The programme includes six new commissions for the third-year, graduate students, and the restaging of three Akram Khan works for the second-years.

Debut Sounds: Sound in Motion is the London Philharmonic Orchestra’s annual concert showcasing the LPO’s Young Composers. The concept sees five composers and eight choreographers collaborating to create the final works shown, with the music played by musicians from the LPO Foyle Future Firsts Development Programme, alongside LPO players, all led by representatives of the LPO Fellow Conductors.

The Next Generation Festival continues at the Royal Opera House with two performances by the BundesJugendBallett AKA German National Youth Ballet. The group was founded by Hamburg Ballet director and chief choreographer, John Neumeier in 2011, and has been directed by Kevin Haigen since its inauguration.

The Next Generation Festival at the Royal Opera House continues with the first outing for The Royal Ballet School's annual performance dates

The final Ashton Worldwide bill at the Royal Opera House (23-24 season) was a Gala programme performed by the Sarasota Ballet in the Linbury Theatre

We're back for more Ashton, with a variation on the initial Royal Ballet programme

The Ashton Worldwide (2024-2028) international festival continues at the Royal Opera House with the Royal Ballet on the mainstage in Ashton Celebrated. The company is performing two mixed bills with slight repertoire changes.

'wit, charm and elegance' are the words used to describe the work of Royal Ballet founding choreographer Sir Frederick Ashton (1904-1988). English ballet, or rather style wouldn't exist without him, so The Frederick Ashton Foundation have understandably instigated the Ashton Worldwide (2024-2028) international festival to celebrate the man, his work, and the impact it continues to have on the ballet world.

Marin is regarded as a major force in French modern dance, and one can understand why when appreciating the work's overall accomplished structuring…but that doesn't mean it will be an unequivocally enjoyable experience for all.