writing on dance
Welcome to my catalogue of writing on dance – a searchable, referenced, linked-up and pretty much complete collection of more than 800 of my published writings on dance (+ a bit more), dating back to 1994. Feel free to jump in.
Latest published articles on the archive
B-movie ballet: Sergei Polunin revives Russian villain Rasputin, suffers with Nijinsky, and tackles toxic masculinity with a pineapple
At Aerowaves 2019 Spring Forward festival I noticed a choreographic structure which I interpret as: life is more of the same, then you die
Lithe and dynamic dancers, and a profusion of sights, sounds and sensations in Dog without Feathers by Brazilian choreographer Deborah Colker
Mixing dance, song and speech, Luca Silvestrini’s production of Saint-Exupéry’s classic children’s story is full of charm but softens its ambivalence
Lightweight take on ‘Europe’ riffing on the commonalities and incomprehensions between Finnish and Hungarian national(ist) cultures
Flora Détraz’s Dada quartet is surreal, clockwork and cloud cuckoo land
Courtly gestures and jesterly attitude – but who is the joke on?
Crackpot sci-fi and retro technomysticism in a piece that neither goes the full Star Trek nor finds a mission of its own
Rooted in traditional Greek dancing, the choreography blooms when it abandons folky footwork for Russell Maliphant’s more characteristically elastic moves
Cathy Marston’s new ballet about Queen Victoria and her daughter Beatrice is outstandingly choreographed, cinematically scored and danced with nuance
My randomly changing picks from the archive
The almost bewildering multiplicity of Sidi Larbi Cherkaoui's work comes from personal history, and a vision of choreography as a social art
Astonishing, unclassifiable work of dance theatre about an unrepresentable subject
On the (r)evolving work of Trisha Brown
Surgery, sexy? A kneebone with a funnybone? … Who knew?
The Royal Ballet and its outliers: a fascinating but over-egged dance-opera, a jaw-droppingly delusional space-ballet, and a classy, unclassical closer.
A Romeo and Juliet that is, BTW, both OMG! and WTF?, IMHO… so there!
Strong performance and striking imagery mask a more fragile dramatic structure in Akram Khan’s Xenos.
The late actor's classical dance training helped him smoulder as a romantic hero on stage and screen
Looking back to the early works of Anne Teresa De Keersmaeker and Rosas
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