Vikki Jane Vile has been reviewing dance for twelve years, specialising in classical dance and Ballroom, with a specific passion for Strictly. In 2018, she became a member of the Critics' Circle for Dance.
Vikki also wrote for Dancing Times from 2010 until the magazine's closure in 2022, as well as CultureWhisper and LondonDance.com. She currently also regularly reviews for Bachtrack.com and Dance for You magazine.
She is currently based in Germany, but that doesn't stop her making frequent flying visits to London for "essential" performances.
It can be a rarity, but every so often, perhaps once a year if you're lucky, you stumble across a work so sublime it leaves you a little stumped as to how to describe it. Unfortunate when you need to review it, however. English National Ballet's Lest We Forget first opened in 2014, marking the 100th anniversary of the beginning of the first World War. Just two years into Tamara Rojo's tenure as Artistic Director, it was a bold statement about where the company was heading. Four years later it sits proudly in their repertoire, a modern masterpiece to absorb, devour and shed a tear.
As the Proms enters September and we approach the end of the run of a staggering 91 concerts, Prom 70 sees the inaugural Tango Prom. Tango is celebrated for its sultry melodies and atmospheric use of the bandoneon, creating its unique identity known to social dancers and music fans alike.
National Youth Ballet has been providing opportunities for young dancers to perform as a company since 1988. Make no mistake, NYB is a wholly professional outfit that attracts upcoming and emerging choreographers to create work for its skilled performers. Perhaps most impressive of all, the work performed in this year's annual gala was created in just ten days during the summer holidays, at Elmhurst Ballet School.
London dance fans are still reeling from the glorious opulence of Liam Scarlett's new Swan Lake for the Royal Ballet. Heavy with emotion, high on budget and dramatic staging, it's in stark contrast to the precise, drilled and efficient Swan Lake courtesy of Konstantin Tachkin's St Petersburg Ballet Theatre, playing at the London Coliseum this August.
English National Ballet's Emerging Dancer Award is now in its ninth year. It's an invaluable resource to balletomanes and dance critics, allowing the opportunity to focus on the rising stars, to put faces to names and glimpse their vibrant personalities for a unique evening that highlights the depth of talent within the company.
Life is a Dream is Rambert's first full-length work is over 40 years. It's perhaps best left to seasoned dance-lovers and those who like a challenge, because choreographer Kim Brandstrup certainly doesn't make it an easy task for his audience.
There is no greater anticipation in the ballet world than that for a new Swan Lake. The unenviable pressure of this task has fallen to one of the Royal Opera House's current Artists in Residence, Liam Scarlett. Scarlett's more recent works for the Royal Ballet include the Age of Anxiety and Frankenstein, as well as the heart-wrenching No Man's Land for English National Ballet's Lest We Forget programme.
The Royal Ballet's latest offering is a rather curious mixed bill containing contemporary, classical and carnivalesque works from three of its resident choreographers. On the surface each of them are tried and tested Opera House hits but together the programme feels confused with no common thread the weave them together.
Emerging from a winter of traditional crowd-pleasers featuring Nutcracker and La Sylphide, the dancers of English National Ballet were finally allowed to cut loose in this new mixed bill - thanks to some eerie swamp monsters and a new and unexpected club banger from William Forsythe. This certainly ain't the Kingdom of Sweets anymore.
Following on from the Royal Ballet's popular story ballets such as Giselle and The Winter's Tale, the company now turn their attention to work of Leonard Bernstein to mark a century since his birth. It comes in the form of a stylish mixed bill of Bernstein's compositions created for the concert hall. The bill features two new works, first up is Wayne McGregor's Yugen, a short piece to the distinctive Chichester Psalms. It is, as expected, an intellectual and calculated McGregor work executed with precision to a collection of choral, but unexpectedly jazzy Hebrew texts.
Ballet Black is a diverse company, comprised of black and Asian dancers, that has been annually performing their charismatic brand of dance in London since 2001.
Sadler's Wells' annual season of flamenco is now in its 15th year. It offers a varied bill, from the traditional and vibrant to more contemporary interpretations. In the case of Isabel Bayon's new work, Dju-Dju, the slightly eccentric too.
Wheeldon's popular retelling of The Winter's Tale returns to the Royal Opera House stage for the third time in four years. Of its many strengths, the meaty storytelling on display from the dancers of the Royal Ballet is its greatest selling point. It is done with such a wonderful clarity not only thanks to Wheeldon's choreography but the emotional investment from the cast really take this tale to the next level.
Marianela Nu ez celebrates her 20th year with the Royal Ballet this year. For a prima ballerina you may believe her peak years of performing are behind her. However, nothing could be further from the truth in this divine production of Sir Peter Wright's mystical Giselle, in which a stellar cast bring their superior storytelling skills to this signature work in the company's repertoire.
Thanks to Matthew Bourne, now Christmas in London doesn't only mean endless Nutcrackers (as lovely as they are) but for over fifteen years dance fans have been treated to his theatrical mix of gothic grit and fairytale charm transporting the audience to a bygone era. This year's festive offering of Cinderella (last seen at Sadler's Wells in the Christmas of 2010) is no different and fans of Bourne will adore this glamorous tale set against the contrasting backdrop of bleak wartime London.
Frederick Ashton's Sylvia was last seen as part of the Royal Ballet's repertoire back in 2010. And how this glittering, mythical tale of silliness has been missed! One cannot deny that the subject matter is hardly the most hard hitting, but this decorative ballet is full of delightful touches and romantic choreography that make for dreamy viewing.
Ballet Black continue to move from strength to strength. Having recently secured funding and completed work on a more spacious London studio, they now tour nationally with their acclaimed narrative ballet, Red Riding Hood as the main attraction in this varied triple bill.
Fresh from taking part in the dazzling nationwide celebration of Kenneth MacMillan's work, a severe change of gear is required as Birmingham Royal Ballet now turn their attention to Aladdin, for a brief run at Sadler's Wells.
The Opera House's new season continues with a joyful celebration of Kenneth MacMillan, seeing the Royal Ballet joined by the country's other top companies for a rare spectacle.
A flamenco show is always easy to spot when you take your seat at the theatre. The stage is stark except for a few unevenly placed chairs. The performers are left to do all the work here and that includes 75 year old Paco Peña along with his small but effective ensemble of singers, dancers and musicians.
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