Vikki Jane Vile - Page 7

Tango sensation, Tanguera first premiered fifteen years ago in Buenos Aires promising an authentic take on the provocative and sensual spectacle with a thirty strong ensemble cast. Unlike the frequently seen Tango showcases of recent times, Tanguera tells a story. It sometimes chooses to drop and pick up the narrative to suit its cause however its depiction of La Boca and the journey we are taken through it's various neighbourhoods, cafes and brothels make it unique and universally enjoyable.

After recent performances of new choreography from Crystal Pite, Wayne McGregor and Liam Scarlett, one could be forgiven for believing the Royal Ballet has dragged itself reluctantly into the 21st Century. Perhaps it's an overly emotional response, there is something wonderfully reassuring and warm in this Ashton triple bill that closes the current season. It's a return to what the Royal do best in these delicate works shine in their artistry and finesse.

This take on the Hollywood classic Thoroughly Modern Millie last played Broadway back in 2002. However, regardless of the casts plucky efforts to inject some New York panache to proceedings, 'Millie' emerges as a particularly poor choice for revisiting in 2017. The story features threads that sit uncomfortably in the present day. Mrs Meers with her chopstick clad hair and mock Chinese accent is amusing for ten minutes but after a couple of scenes just seems plain racist. Millie's chunk of the plot hangs on the idea that she needs to find a rich man to marry to get on in life. Where do I even start with that one?

English National Ballet's Emerging Dancer award is now in it's eighth year and this time was able to reach an even wider audience through a live streaming from Sadler's Wells Theatre which has had 50,000 views to date. Such an addition promoted this annual contest an even bigger opportunity for these young dancers to shine and demonstrate their capabilities in principal roles they have rarely, if ever, had the chance to dance.

James Thierree's latest offering is an another polarising work from theatrical experimentalists Compagnie du Hanneton. Having previously presented work in London in 2007 and 2014, Thierree and co. are making their much anticipated return to Sadler's Wells to captivate and shock a fresh audience; it will certainly divide opinion.

It's plain to see why Jewels, Balanchine's work that marks it's half century this year, has an enduring appeal. It's a pure, glossy, glittering spectacle to be devoured and enjoyed by those viewing it. The advantage of a plotless ballet is that it allows one to sit back and absorb the beauty of the movements, costuming and staging and that's what good theatre for the masses is all about.

One will rarely see Sadler's Wells brimming with more anticipation than at the premiere of a Sergei Polunin triple bill. Fans will always flock to see the Ukrainian star alongside his real-life partner, Royal Ballet Principal Natalia Osipova. However, Project Polunin feels sadly like the vanity project some feared it would be.

This year's triple bill marks Ballet Black's sixteenth year since Cassa Pancho founded the company in 2001. Their message remains the same as their fan base continues to grow: diversity. This small company of only eight dancers can now comfortably sell out London's large Barbican theatre for several consecutive nights and their tours of the country continue for months after. Their work whether old or new always demonstrates a glorious level of technique, precision and grace that keeps audiences coming back.

Arthur Pita returns to The Place with the dark but thrilling double bill Stepmother/Stepfather. Stepfather is a revisit of the work Pita first created in 2007 for CandoCo Dance. He was approached by HeadSpaceDance to support a full evening's work and felt it would be the perfect time to resurrect this tale of selfishness, incest and murder. The evening is preceded by Stepmother, a new piece acting as a 'sister' work to the more established Stepfather.

The Strictly Tour has now been an annual fixture in fans' calendars for ten years. Each time the casual enthusiast mentally prepares themselves for a some full on fluff and scripted joviality but on this opening night at Wembley, this relentlessly joyful show was full of heart which is exactly what the world needs right now.

English National Ballet are undoubtedly a company in need or a decent break. Having thrilled audiences with a new take on Giselle from Akram Khan back in November, a full run of Nutcracker over the festive period, they now embark on over a dozen performances of Mary Skeaping's Giselle before they can take a well earned breather. It makes for a pleasing compare and contrast to Khan's contemporary offering.

Lucky Londoners are now treated to a Matthew Bourne extravaganza every festive season and in comparison to recent year's revivals of previously seen Bourne works, the excitement is palpable at Sadler's Wells as audiences prepare for the world premiere of Bourne's take on the 1948 film, The Red Shoes.

Opening the programme to discover your evening's viewing is set is a psychiatric clinic doesn't especially fill one with hope for an entertaining evening, however Boris Eifman and his chic St Petersburg company delivers an amusing, stylish and original performance in this multilayered story based on F. Scott Fitzgerald's Tender is the Night in Up and Down.

London has had to bide its time in waiting for the premiere of Akram Khan's Giselle. With it's first warmly received performance back in Manchester in September, fans have had to be patient but this captivating take on the romantic classic is more than worth the wait.

Mark Baldwin, artistic director and choreographer of The Creation describes Haydn's oratorio as "perfect dance music". Combined with subject matter no less than the creation of the world, and one begins to understand the gravitas he aims to bring to this piece, a sizeable project for the UK's oldest dance company.