All stories by Lyndsey Winship on BroadwayStars

Monday, April 4, 2022

Johannes Radebe: Freedom review – Strictly star leaves it all on the floor by Lyndsey Winship

Peacock theatre, LondonThe dancer takes us on his personal journey from South African township to 2020s London with speed, sass and sequins If you’re a fan of Strictly Come Dancing’s Joh…

SOURCE: The Guardian at 06:24AM
Friday, April 1, 2022

‘Two years ago it was impossible’: how tech turns dance into a multisensory fantasy by Lyndsey Winship

From the Barbican in London to shopping centres around the country, audiences can become part of sophisticated new XR dance spectaculars – diving into Lewis Carroll’s imagination or an e…

SOURCE: The Guardian at 10:42AM

English National Ballet: The Forsythe Evening review – feel the funk by Lyndsey Winship

Sadler’s Wells, LondonThe energy is infectious as William Forsythe blends classical ballet with soul, house and R&B, from James Blake to Barry White Choreographer William Forsythe has …

SOURCE: The Guardian at 08:33AM
Wednesday, March 30, 2022

Phoenix Dance Theatre review – tender and tense performances mark 40 years by Lyndsey Winship

Peacock theatre, LondonThe Leeds-based company come out fighting with family stories, purposeful dancing and a boxing-themed finale In 1981, Phoenix Dance Company was a group of three men in…

SOURCE: The Guardian at 03:54PM
Monday, March 28, 2022

Fishnets out, waacking in! Julia Cheng on how she has transformed Cabaret by Lyndsey Winship

How did this one-woman whirlwind go from dance school reject to Olivier-nominated choreographer of Cabaret? Via Bruce Lee, hip-hop and a kick up the butt It all started in a Luton youth club…

SOURCE: The Guardian at 03:54AM
Friday, March 25, 2022

Royal Ballet review – Kyle Abraham’s fresh style connects to the real world by Lyndsey Winship

Royal Opera House, LondonThe versatility of the modern ballet dancer is showcased in a triple bill featuring works by Crystal Pite and Christopher Wheeldon Without seeming as if he’s tryin…

SOURCE: The Guardian at 08:24AM
Wednesday, March 23, 2022

Boris Charmatz / Serafine1369 review – resistance, endurance and an invisible violin by Lyndsey Winship

Sadler’s Wells, LondonAt the Dance Reflections festival, both choreographers bewilder with experimental works that explore time and personal space A double-bill in the Dance Reflections fe…

SOURCE: The Guardian at 05:48PM
Sunday, March 20, 2022

Lucinda Childs and Ruth Childs review – still challenging after 50 years by Lyndsey Winship

Royal Opera House, London Seminal works from the 1970s are revived by choreographer’s niece and focus on the simple beauty of minimalist movements In the 1970s, Lucinda Childs was part of …

SOURCE: The Guardian at 08:33AM
Friday, March 18, 2022

He’s Dead review – was Tupac Shakur depressed? by Lyndsey Winship

Battersea Arts Centre, LondonInspired by the pain that is audible behind the machismo of the rapper’s music, Malik Nashad Sharpe has created an intriguing show Was Tupac Shakur depressed? …

SOURCE: The Guardian at 07:12AM
Thursday, March 17, 2022

Dancers and dissidents: how ballet became a political football between east and west by Lyndsey Winship

As the conflict in Ukraine intensifies, Russia’s dance corps are under scrutiny. But ballet has long been the “secret weapon” in Russia’s diplomatic arsenal When the independent Russ…

SOURCE: The Guardian at 12:42PM

Swan Lake review– ambitious production provides more hits than misses by Lyndsey Winship

Royal Opera House, LondonFrancesca Hayward brings intelligence and sensuality to her debut in the dual role of an uneven but stylish production As highly anticipated debuts go, this one had …

SOURCE: The Guardian at 09:33AM
Monday, March 14, 2022

‘It’s like Heathrow control room’: creating Wondrous Stories, Birmingham 2022’s opening ceremony by Lyndsey Winship

Motionhouse artistic director Kevin Finnan reveals the challenges in preparing a spectacular start to a festival ‘“In the 60s, choreographer Yvonne Rainer came out with this whole manife…

SOURCE: The Guardian at 09:48AM
Tuesday, March 1, 2022

‘It’s offensive in the best possible way’: Eric Underwood on his leap into acting with Clybourne Park by Lyndsey Winship

The former Royal Ballet dancer and model is set to make his theatrical debut in Bruce Norris’s knotty, Pulitzer prize-winning play. He explains how he found his voice on and off stage Twen…

SOURCE: The Guardian at 06:42AM
Monday, February 28, 2022

Well, slap my shoe! A lederhosen classic and a polka only five men can do by Lyndsey Winship

What do you get if you cross a 1,000-year-old Bavarian shoe-slapping dance with an all-male Italian folk routine that was on the brink of extinction? A sweaty, joyous double-bill! When Aless…

SOURCE: The Guardian at 03:12AM
Friday, February 25, 2022

Mark Bruce: Phantoms review – a broodingly cinematic dance triple bill by Lyndsey Winship

Wilton’s Music Hall, LondonThe choreographer draws on Tarantino, the White Stripes and grizzly folklore in an evocative and brilliantly scuzzy show Mark Bruce has always been driven by mus…

SOURCE: The Guardian at 10:03AM
Thursday, February 24, 2022

Lost Dog: A Tale of Two Cities review – the best of times by Lyndsey Winship

The Place, LondonBen Duke directs a triumphant theatre-dance interpretation of the Dickens classic that offsets complexity with out-loud laughs Choreographer Ben Duke and his company Lost Do…

SOURCE: The Guardian at 07:37AM
Thursday, February 17, 2022

NDT2 review – dancing clean enough to eat your dinner off by Lyndsey Winship

Sadler’s Wells, LondonThe incredible young dancers of NDT’s satellite company easily navigate a triple bill of Hans van Manen, Marco Goecke and Johan Inger, fleet and varied NDT2 is a co…

SOURCE: The Guardian at 09:03AM
Wednesday, February 16, 2022

Donuts review – in sync with the delicate dynamics of friendship by Lyndsey Winship

The Place, LondonFusing funk styles with contemporary dance, Jamaal Burkmar’s original voice and feelgood choreography is warm, fun and very watchable The programme notes for Jamaal Burkma…

SOURCE: The Guardian at 10:06AM
Friday, February 11, 2022

Snow Maiden review – The Russian State Ballet of Siberia’s stilted fairytale by Lyndsey Winship

New Theatre, OxfordThere’s a general sense of wasted potential in a show that has flashes of brilliance, yet feels light on vitality with an underwhelming score The Russian State Ballet of…

SOURCE: The Guardian at 09:03PM
Thursday, February 10, 2022

Acosta Danza: 100% Cuban review – Carlos’s mesmerising movers by Lyndsey Winship

Sadler’s Wells, LondonThe company mix worldwide influences into Cuban dance and though not all these cocktails hit the mark, they make for an intoxicating evening Carlos Acosta doesn’t c…

SOURCE: The Guardian at 07:54AM
Friday, February 4, 2022

Tanztheater Wuppertal Pina Bausch: Kontakthof review – the miseries of mating by Lyndsey Winship

Sadler’s Wells, LondonTender, brutal and humorous, the choreographer’s 1978 piece about gender wars and sexual mores still feels acutely contemporary It was 40 years ago that choreograph…

SOURCE: The Guardian at 07:06AM
Friday, January 28, 2022

Compagnie 111: aSH review – godlike serenity and transcendent movement by Lyndsey Winship

Barbican, LondonKuchipudi dancer Shantala Shivalingappa is hypnotically precise in a piece about renewal and transformation inspired by the Hindu god Shiva The Hindu god Shiva is an inspirat…

SOURCE: The Guardian at 06:54AM
Thursday, January 13, 2022

‘Bam! Incredible energy’ – how a group of performers with learning disabilities are changing dance by Lyndsey Winship

For 30 years, pioneering company Corali has subverted audience expectations. Now it’s helping queer-dance duo Thick & Tight with a work about poet Edith Sitwell We’ve all got our tea…

SOURCE: The Guardian at 12:12PM

Gandini Juggling: Life review – Merce Cunningham tribute is a little gem by Lyndsey Winship

Sadler’s Wells, LondonCombining juggling and contemporary dance, this is a complex and accomplished homage to the late choreographer There have been many tributes to the great choreographe…

SOURCE: The Guardian at 06:36AM
Wednesday, January 12, 2022

A 10-year triumph: how Tamara Rojo transformed English National Ballet by Lyndsey Winship

The dancer, choreographer and artistic director has shown great ambition and had an astonishing impact at the company Right now, Tamara Rojo is putting the finishing touches to the first bal…

SOURCE: The Guardian at 09:54AM
Tuesday, January 4, 2022

Raymonda reborn: Tamara Rojo on ditching the sexism, Arab stereotypes, and 32 one-legged jumps by Lyndsey Winship

The ENB director has pulled the story forward to the Crimean war, based the female lead on Florence Nightingale – and adapted the choreography for today’s more slender dancers When peopl…

SOURCE: The Guardian at 05:03PM
Monday, December 27, 2021

Theatre, dance and comedy to book in 2022 – from Alan Partridge to Tennessee Williams by Arifa Akbar, Lyndsey Winship and Brian Logan

Amy Adams makes her West End debut, immersive dance confronts mental health and Steve Coogan’s alter ego embarks on a rare live UK tour • Preview more cultural highlights of 2022 Continu…

SOURCE: The Guardian at 03:36AM
Saturday, December 18, 2021

The best theatre, comedy and dance of 2021 by Arifa Akbar, Brian Logan and Lyndsey Winship

It was a year of revivals in every sense, as venues threw open their doors again. From fresh takes on classics to blazing new talents and shows that captured the current moment, our critics …

SOURCE: The Guardian at 01:54AM
Thursday, December 16, 2021

Matthew Bourne’s Nutcracker! review – a pink, chewy fizz of a show by Lyndsey Winship

Sadler’s Wells, LondonBourne’s reworked version has a darker edge but it’s still full of wit, energy and colour, with a sensuous thrill It’s nearly a decade since Matthew Bourne’s …

SOURCE: The Guardian at 10:33AM
Thursday, December 2, 2021

Romeo & Juliet review – Sergei Polunin in swashbuckling form by Lyndsey Winship

Royal Albert Hall, LondonChoreographed by Johan Kobborg, this is an often overblown show but has a divine turn from Alina Cojocaru This vehicle for Ukrainian ballet star Sergei Polunin, crea…

SOURCE: The Guardian at 07:42AM
Tuesday, November 30, 2021

‘I tell myself: You’re a penis’: Sergei Polunin on drugs, bad tweets – and his Putin chest tattoo by Lyndsey Winship

He walked out of the Royal Ballet and went off the rails. But the bad boy of ballet is now a father with a responsible a new attitude – and he’s even dancing Romeo and Juliet Dancers swe…

SOURCE: The Guardian at 10:48AM

All that Chat

2024-2025 BROADWAY SEASON
Jun 05, 2024: Home - Todd Haimes Theatre
Jul 11, 2024: Oh, Mary! - Lyceum Theatre
Jul 30, 2024: Job - Hayes Theater
Sep 12, 2024: The Roommate - Booth Theatre
Nov 14, 2024: Tammy Faye - Palace Theatre
Nov 17, 2024: Elf - Marquis Theatre
Dec 12, 2024: Cult of Love - Hayes Theater
Dec 19, 2024: Gypsy - Majestic Theatre
Mar 17, 2025: Purpose - Hayes Theater
Apr 10, 2025: Smash - Imperial Theatre
TBA: Titanic
TBA: Ragtime