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Backbone, by Australian circus company Gravity and Other Myths, derives some of its strength from upending our big-top expectations. There’s a false
Circus performer and clown Thom Monckton makes an art form out of dawdling around in this deft and almost perfectly paced solo
A hefty gold dildo makes a star turn in choreographer Boaz Barkan’s eccentric lecture-performance May I Speak About Dance? The shimmering phallus in
Five years ago, Finnish-born filmmaker Samira Elagoz was raped by her then-boyfriend. In the aftermath, she records conversations with her friends, mother
You and I is a likeable, personal show by Casus co-founders and off-stage partners Jesse Scott and Lachlan McAulay that celebrates and
Cha-cha heels and cheese abound in Burn the Floor: Rebels of Ballroom, a cheerful hour-long exhibition of glitzy costumes, snappy technique and
Cold Blood is something truly special. Like Kiss and Cry Collective’s eponymous first show, which was also the brainchild of film-maker Jaco
Choreographer Ludovic Ondiviela recasts Giselle as a modern horror, complete with a mortuary scene, in this ambitious and atmospheric full-length ballet (the
There are galoshes, buckets and cuppas galore in A Clown Show About Rain, a gently poignant piece of physical theatre about the
Dance Base, EdinburghThe three Fates of Greek mythology preside over human destiny from a cosmic sweatshop in this captivating piece of dance-theatreThe Spinners, a collaboration between Sco…
Pink Mama Theatre’s Jungle purports to be about the legacy of colonialism. It is baffling, tedious and momentously misguided. For 45 minutes,
Two female dancers tread gingerly across an empty space. Beneath them, a video projection on the floor displays fleeting images of stark
Dance Base, EdinburghIma Iduozee slinks and swoops with insouciant ease in this solo piece, but patchy sound design and a ponderous self-indulgence hold the show backFinnish dancer and chore…
Like a bulging Mothercare nappy bag saddled to the back of a weary parent, there’s a lot to unpack in Baby Face.
Tumblers, clowns and horseback tricks in a 42-foot diameter performance ring – these are the components of modern circus established 250 years
Respect the Elders. When Sadler’s Wells’ resident over-60s company of community dancers perform their latest mixed bill, they re-adjust the parameters by
Circa’s Peepshow provides an occasionally unusual viewing experience for its punters. It’s a circus show that gamely plays around with the voyeuristic
A morally serious and witty gem of a work lodges between three duller and borderline indulgent pieces in NDT1’s latest mixed bill.
The human cost of the 2022 World Cup in Qatar isn’t so much FIFA’s dirty little secret as an ongoing Amnesty-certified human
'Headlong, hormonal passion': Anna Winter reviews Kenneth MacMillan's Romeo and Juliet at Sadler's Wells.
The post Review: Romeo and Juliet by Birmingham Royal Ballet appeared first on Exeu…
Congolese dancer-choreographer Faustin Linyekula’s In Search of Dinozord is diffuse and difficult; a combination of movement, spoken word and song that together
There’s cider, popcorn and an air of frantic excitement at Beverly’s party. Five friendly host Bevs in silvery-grey dresses and wigs assign
A Loyalist pub in 1960s Dublin. With fags in hand and familiar tones, the landlady and her beehived pal usher an uncertain
English National Ballet’s The Sleeping Beauty is worth waking up for. Kenneth MacMillan’s production for American Ballet Theatre had a fraught journey
A cat among the swans: Liam Scarlett's interpretation gets three big ticks from Anna Winter.
The post Review: Swan Lake at the Royal Opera House appeared first on Exeunt Magazine.
Last year, hip-hop company Boy Blue Entertainment presented the searing triptych Blak Whyte Gray in London and Edinburgh, a performance that brought
A strange sterility: Anna Winter reviews a new work for Rambert by choreographer Kim Brandstrup.
The post Review: Life is a Dream at Sadler’s Wells appeared first on Exeunt Magazine.
An alumnus of Merce Cunningham and Michael Clark’s companies, Julie Cunningham launched her choreographic career in 2017 with To Be Me, a
The central idea of Soap – acrobats performing in and around bathtubs containing actual water – sounds like a cross between a
The clowns in Hofesh Shechter’s Show aren’t just creepy, they’re homicidal. By turns gambolling fools, sage advisors and blank-faced killers, this octet
At what point does a regime of self-improvement shade into self-destruction? How easily can a quest for bulging biceps descend into delusional