Vikki Jane Vile - Page 2

A little over a year ago, I attended a performance of Giselle from the Staatsballett Berlin whilst in the knowledge that the next day Corona restrictions would mean a premature end to the run. Fast forward to this year and performances are going ahead under strict “2G” regulations (you must be recovered or vaccinated and wear a mask at all times). Favouring Victor Ullate’s (after Petipa) crowd pleasing Don Quixote over the Christmas tradition of Nutcracker this year, the company tackle the challenge gamely although this particular performance lacked the magical feel that going to the ballet at Christmas should give. 

Anyone who enjoys that unmistakable Singin’ in the Rain aesthetic, the razzle dazzle of Hollywood and dreamy Broadway scores will have a very happy hour watching Scottish Ballet’s Starstruck. Gene Kelly was originally asked to choreograph a work for Paris Opera Ballet in 1960, the piece, Pas de Dieux, was celebrated as a “breath of fresh air” at the time, and was widely acknowledged as bringing the “American style” to Europe. In this opulent re-imagining, new audiences can enjoy a slice of joyful nostalgia.

Celebrating their 20th anniversary this year, Black Black return to the Linbury Theatre with a double bill of new work, and in signature style you’ll be hard pressed to leave without your heart feeling a little fuller than before. Cassa Pancho’s company has always been small, at present featuring eight dancers (not including one currently on maternity leave) and over the years this has allowed audiences to become familiar with their individual faces, styles and techniques. Needless to say, there is a warm familiarity in going to see a Ballet Black show and this latest programme is no different. 

There’s a particular anticipation for this new triple bill from Birmingham Royal Ballet. In a programme that feels like the start of a new chapter, after being first trailed in Autumn of 2019, Artistic Director Carlos Acosta finally has the opportunity to share his Curated ... works to a London audience. It’s an evening that feels distinctly current and contemporary but with the added star power of Acosta himself taking to the stage once more for a fleeting pas de deux with guest ballerina, Alessandra Ferri. 

Sir Peter Wright's Giselle is one of the Royal Ballet's most recognisable productions and offers the most coveted of roles for any ballerina. But it is Natalia Osipova who treats opening night audiences to her take on the role - and what a captivating and very complete experience it is.

​Akram Khan’s third work for English National Ballet finally debuted after numerous COVID-related false starts to a vocal Sadler’s Wells audience this week.

Continuing the week that dance returned to the UK, the Royal Ballet favoured a contemporary focus with a mixed bill under the banner title, 21st Century Choreographers. As if the occasion needed further anticipation, earlier that day both immediate and upcoming promotions were announced, with First Soloists Fumi Kaneko and Mayara Magri making the step up to Principal. As at Sadler’s Wells the night before, there was giddy applause and foot-stamping as we were welcomed to the performance and a spontaneous standing ovation before anyone had danced a step: heart-swelling stuff. 

Before we get to the main business of the dancing, let’s focus on what tonight is really all about: the moment the lights go down and there is an announcement, “Welcome to this performance of Reunion by English National Ballet”, and followed by that unique sound of applause and cheering from a socially distanced audience that lasts nearly a minute. If you didn’t already have a lump in your throat from the sight of a velvet curtain and an overpriced glass of wine in a plastic cup, you will now. 

Strictly Come Dancing’s golden couple, Aljaz Skorjanec and Janette Manrara, return for a socially distanced iteration of their latest big budget production. The pair have toured every year since 2017 with homages to Fred Astaire and the silver screen before this tribute to the Oscars became a COVID casualty in 2020. Timing this year means, once again, hopes of live performances have been quashed, but never ones to sit back, Skorjanec and Manrara are offering fans an abridged version for streaming, featuring an elaborate cast of singers and dancers.

With London and the UK’s plans for a nostalgic annual revival of Nutcracker scuppered, fortunately Marquee TV is supplying audiences with access to New York City Ballet’s production, choreographed by George Balanchine, until January 3. This particular performance is from the 2019 run. 

It’s December and Royal Ballet’s Nutcracker is back on stage, it’s almost like 2020 didn’t happen, and for two magical hours, that's how it will feel. Peter Wright’s beloved production has, of course, has the COVID treatment; choreography is amended to keep distance, some of the divertissements are cut and the party scene has been pruned of additional children but the magic moments are still very much intact. With the dancers of the company, eager to thrill a live audience for the first time since March (bar one-off galas), it makes for a deeply special occasion.

This latest gala from the Royal Ballet had been planned to be performed in front of a live and appreciative audience, drinking in their first in-person, post lockdown performance. Alas, the stars did not align, but the tenacity of the Opera house team means this “all guns blazing” display is still a joy to watch online. 

I had been vividly envisioning my return to live theatre for seven months before attending Staatsballett Berlin’s performance of Giselle. However one scenario I had not accounted for was that my first show back, would also be the last for a while, as Germany is plunged into another “lockdown light” in just a few days.

Strictly Come Dancing is going to look very different to any of its previous 15 years, as producer of the annual sequinned extravaganza, Sarah James, explained when she recently addressed the media to reveal how the Coronavirus-friendly edition of the show will work.

The Royal Ballet returned to the stage for the first time in seven months on Friday night. Yes, I could contextualise about how this was bitter sweet and dampened by social distancing but, the dance was too stupendous to give any time to that so let's not and just marvel about how wonderful it was to see them again. 

English National Balleta??s Emerging Dancer marks the companya??s first live performance since lockdown and the opener to their newly curated Digital Season as a response to the current COVID-19 restrictions. The annual award sees six dancers from the most junior rank of the company perform a classical as de deux in three pairs, and historically a contemporary solo, although this year saw three first duets featuring original choreography (presumably for bubbling/distancing reasons).

Birmingham Royal Ballet looks a lot different today than it did ten years ago when this performance for David Bintleya??s Cinderella was filmed. A return to a familiar classic makes for heartwarming quarantine viewing, as well as an opportunity to watch fine dancers who have since retired.

There were few greater joys in dance in 2019 than English National Ballet's Cinderella-in-the-round, which played to full auditoriums for 10 days last summer in London. After recent events, it already feels like a lifetime ago, so it's a particular treat to relive it now, as the last of their series of Watch Parties.

Sander Blommaert, a multi-award-winning ballet teacher from Elmhurst Ballet School, and former Royal Ballet First Artist, has completed a run of 100 free online ballet classes throughout lockdown.

The third installment of Live from Covent Garden is the first to feature two ballet performances instead of one, and all the stronger for it. The result is a more rounded experience for arts fans and the choice of pas de deux more satisfying than those seen before.