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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
Australian quintet The Tap Pack produce a slick two hours of hoofing and honied vocals, interspersing their impressive dance routines with renditions
Hydraulic elegance: Anna Winter reviews Balletboyz and their programme of four works created in fourteen days.
The post Review: Fourteen Days at Sadler’s Wells appeared first on Exeunt…
Collective sphincters being clenched: Aino Venna and Ilona Jantti's cabaret circus doesn't have quite the desired effect.
The post Review: Yablochkov Candle at Jacksons Lane appeared first o…
Jamaican dancehall and Georgian polyphonic chanting – it seems like an odd pairing for a main stage production, but Cecilia Bengolea and
Three very different mothers converge in a hospital waiting room, anxious for updates, after a class of Year 10 pupils are mysteriously
A circus inspired by nuclear physics? It’s hard not to think of the world’s premier political megalomaniacs and their social media sabre-rattling.
In November, Britain’s ballet companies commemorated the 25th anniversary of Kenneth MacMillan’s death with a varied programme of his one act works.
Cowpuncher is a collaborative project with pulling power. In addition to costumes by Vivienne Westwood’s partner Andreas Kronthaler, it’s scored by celebrated
Circus Abyssinia’s Ethiopian Dreams offers an hour of ebullient escapism. At its best – in a nonchalant, rhythmically dynamic juggling routine, for
Despite the name, Relentless Unstoppable Human Machine gets off to a slightly saggy start. On a set made up of metal climbing
BalletLorent’s reimagining of Rumpelstiltskin expertly weaves together elements of light and dark, love and dysfunction. In Carol Ann Duffy’s new version of
A ballet’s stage manager must be up for anything, from cueing the score to handling ponies. Johanna Adams-Farley and Sarah Woodward, who
It’s been 50 years since contemporary dance doyen Richard Alston made his first work. Mid Century Modern is a fine celebration of
Kentucky-born actor, writer and activist Elizabeth Robins’ play Votes for Women, first staged at the Royal Court in 1907, is animated by
For the first time in 15 years, choreographer Russell Maliphant is back onstage duetting with his collaborator and partner Dana Fouras. The
In the week of the Beast from the East, the prospect of some Buenos Aires heat, courtesy of German Cornejo’s Tango After
Proudly matriarchal: Flamenco legend Antonia Santiago Amador makes a rare, glorious appearance.
The post Review: Gala Flamenca La Chana at Sadler’s Wells appeared first on Exeunt Magaz…
Mark Bruce really puts the murk in Macbeth. It’s an unremittingly dark piece of dance-theatre for which Wilton’s Music Hall, with its
Celebrating the 200th birthday of Imperial ballet master and choreographer Marius Petipa, there was a wealth of dance talent on display on
Tales from Star City, written and directed by Dan Dawes, is an earnest one-woman play with bold ambitions. Spanning three decades, it
Black cats, yellow hats and salt – the superstitions that swirl around flamenco culture form the core of Isabel Bayon’s enjoyably bizarre
The most famous teenage lovers in Western literature didn’t actually die. At least, not in Lost Dog’s outstanding Juliet and Romeo, a
With no hip-hop dance-graded syllabus available, where’s best to learn house and krump? Anna Winter finds out how to take street moves
Marianela Nunez knew she wanted to be a dancer at three years old. Now starring in Giselle and celebrating her 20th year
A spate of high-profile robot deaths, a mysterious tulip and the machinations of a malevolent teddy bear with gleaming red eyes. Welcome
April de Angelis’ 1993 play Playhouse Creatures is a witty and poignant backstage drama that explores the moment in history when lustrous-locked
The Royal Ballet institution has a pretty much sacrosanct relationship with Petipa’s Sleeping Beauty. Sumptuously and symphonically scored by Tchaikovsky, it’s the