Vikki Jane Vile - Page 4

In true balletomane style, my first thought when I knew I would be in London over the Christmas and New Year period was that I would finally be able to catch Birmingham Royal Ballet's (BRB) Nutcracker which runs for just seven performances.

It's fitting that Matthew Bourne's The Red Shoes returns to London to finish up another year of reviewing dance. By far Bourne's most accomplished, creative and complete work, it's a theatrical joy from start to finish that is performed with confidence by a cast who have now had time to perfect it since the 2016 premiere. 

Manfred Thierry Mugler and Wayne McGregor are such renowned names in their respective fields, a collaboration between them need only be eponymously titled. But for the thrill of the glamour and high-fashion of McGregor + Mugler, this short duet for Edward Watson or the Royal Ballet and Olga Smirnova of the Bolshoi forms only a small segment of an unusual and intriguing triple bill. 

Continuing a series of personal projects away from the mainstay of the Bolshoi repertoire, Svetlana Zakharova returns to the London Coliseum once more with Modanse, a chic double bill of UK premieres with high calibre support from a range of Bolshoi Principals and Soloists. Chic it may be, with opulent costumes and some original choreography but the cumulative effect lacks impact as a vehicle for the ballet superstar to shine. 

There's a lot riding on this revival of Ninette de Valois' production of Coppélia. Not only is it being performed by an (almost) entirely new crop of dancers since it was last seen here in 2006, it replaces Sir Peter Wright's long loved production of Nutcracker as this year's festive treat. 

In their second visit to London's dance house, Acosta Danza return with a varied bill, following a successful debut in 2017. It culminates in a guest appearance from the man himself as he approaches his second Artistic Director role with Birmingham Royal Ballet in the new year. 

A stalwart of the classical repertoire, there's much to admire in The Sleeping Beauty; glittering, colourful costumes, enchanting storytelling and opportunities for the whole company to shine. Petipa's production was first seen in 1946 to reopen the Opera House after World War II, alternative versions have been offered up over the years, but this is the one to have stood the test of time, subject to only minor updates. 

It's a particular treat when a triple bill allows programme space to showcase not one but two exciting companies. We should thank Birmingham Royal Ballet for the highly democratic move of inviting Ballet Black to share the Sadler's Wells stage with them in this latest Autumnal offering. 

Just over a year ago Natalia Osipova premiered her own curated programme of work, Pure Dance, to mixed reviews. Amazing how, just one year later and with the pieces sitting more comfortably with the artists on stage, the momentum shifts, making for a much more powerful evening than before. 

The first mixed bill of the season sees the Royal Ballet celebrate a diverse cross-section of 1960s productions - from the clean and tightly choreographed Concerto, to the luscious opulence of Raymonda Act III (so commonly seen as a standalone piece). The two are separated by some picture-perfect Ashtonian charm with Enigma Variations.

Sadler's Wells associate artist Russell Maliphant is renowned for his work studying the intricacies of the human body. New piece, first premiered earlier this year at DanceEast, Silent Lines, seeks to continue this endeavour with all of Maliphant's signature creative devices. 

The Royal Ballet's 19/20 season is opened in confident style with Kenneth MacMillan's 1974 production of Manon. It features a cast who perform it with renewed vigour and attack, easing through the testing emotional and physical demands of the story with style and flair. 

Accurately reviewing Bianca del Rio's It's Jester Joke tour is perhaps one of the most challenging reports I've ever had to write. That's because so much of what I witnessed was quite frankly, and delightfully, unrepeatable. 

Akram Khan's Giselle is only three years old, but it already has a weighty reputation, as a powerful contemporary reworking of a classic, done with the choreographer's impressive sense of intensity and drama. 

Thriving dance troupe Alvin Ailey American Dance Theatre return to Sadler's Wells for the first time in three years with a varied set of programmes, contrasting challenging themes of new work with joyful signature piece Revelations.

Friday's press night performance of Matthew Bourne's Romeo and Juliet was one of the most breathtaking nights at the theatre in a long time, and that's without including a live show stop. 

Sadler's Wells' annual Flamenco Festival is repeatedly one of the most exciting and flamboyant displays of the season, offering colourful, vibrant (often improvised) one-off performances.

2019 marks the 25th anniversary of London Children's Ballet. Chances are, if you're familiar with the work of LCB, then you already know of their unique and impactful mission and the difference they have made to thousands of young dancers across the UK. 

Trust me, dishing out two stars as a fully fledged member of the Strictly Come Dancing superfans is a painful choice, but after seeing Somnium: A Dancer's Dream, this colourful and vibrant show's flaws unfortunately cannot be ignored.

Now in wind-down mode for the summer, programmers at the Royal Opera House are treating audiences to a host of performances from young dancers, overseas companies and, of course, later on in July, a short residency from the Bolshoi. The relatively newly unveiled Linbury Theatre is the setting for this year's Young Talent Festival, a succession of evenings featuring work from students and those graduating into company life from both the UK and abroad. The festival opens with confident, assured work from Ballett Zurich's Junior Company.