All stories by Anna Winter on BroadwayStars

Thursday, March 7, 2019

Ballet Boyz: Them/Us review at Sadler’s Wells, London – ‘rare, precious dance’ by Anna Winter

BalletBoyz’ short but riveting evening of new work begins with Them, a 30-minute piece devised via collective improvisation sessions in collaboration with

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Wednesday, March 6, 2019

How to choose the best training for a contemporary dance career by Anna Winter

Potential dance students have many study options to choose from, each of which provide different styles of training and career prospects. Anna

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Liam Scarlett’s Frankenstein review at Royal Opera House, London – ‘ambitious but unwieldy’ by Anna Winter

Call the dramaturg! Liam Scarlett’s Frankenstein is in dire need of a pacemaker and emergency surgery to slice away at its considerable

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Monday, March 4, 2019

Richard Alston review at Sadler’s Wells, London – ‘inspired and intricate’ by Anna Winter

Richard Alston has been making dance for 50 years; half of that time for his own company. Yet this celebratory programme, which

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Friday, March 1, 2019

Tesseract review at Barbican Theatre, London – ‘an onslaught of self-indulgence ‘ by Anna Winter

This theoretically involved but theatrically impotent creation is the result of a collaboration between filmmaker Charles Atlas and choreographers Rashaun Mitchell and

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Tuesday, February 26, 2019

Choreographer Rhimes Lecointe: ‘No matter if five women are in the room – all of them can make it’ by Anna Winter

As a hip hop reinterpretation of The Wind in the Willows begins its UK tour, its choreographer tells Anna Winter about being

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Monday, February 18, 2019

Don Quixote review at Royal Opera House, London – ‘a joyful experience’ by Anna Winter

Cervantes’ nudnik knight-errant is back. Carlos Acosta’s 2013 production of Don Quixote for the Royal Ballet is a big, bold, irresistible gift

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Friday, February 1, 2019

Father (Vader) review at Barbican Theatre, London – ‘absurd, astonishing and deeply moving’ by Anna Winter

Father (Vader), which premiered in Europe in 2014, is the first instalment of Peeping Tom’s surreal family-based trilogy. It’s every bit as

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Tuesday, January 29, 2019

Choreographer Robert Cohan: ‘I like a lot of dance, but not when it’s trying to sell itself with tricks’ by Anna Winter

As the founding artistic director of the Place and the London Contemporary Dance School, Brooklyn-born Robert Cohan revolutionised dance in Britain. As

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Monday, January 28, 2019

Chambre Noire review at Jacksons Lane, London – ‘frustratingly shallow’ by Anna Winter

Chambre Noire is a grim one-woman puppet show about the death of Valerie Jean Solanas, the radical feminist who famously shot Andy

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Monday, January 21, 2019

Strictly Come Dancing: The Live Tour review at Arena Birmingham – ‘slick and spangled’ by Anna Winter

Dangle the disco balls and crank up Copacabana because Strictly’s live tour is back on the road. With the full coterie of

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Friday, January 18, 2019

A Night With Thick and Tight review at Lilian Baylis Studio, London – ‘a subversive delight’ by Anna Winter

What would happen if Miss Havisham and Queen Victoria met up for a little conversation, cavorting and mutual sourness? As imagined by

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Wednesday, January 16, 2019

Waltz of the Hommelettes review at Barbican Pit, London – ‘eggs, elves and evil bunnies’ by Anna Winter

Eggs, elves and an evil bunny are the main players in puppetry company Les Antliaclastes’ Waltz of the Hommelettes, an imaginatively sinister

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Friday, January 11, 2019

Anomaly review at Old Red Lion, London – ‘pacy, perceptive debut play’ by Anna Winter

Liv Warden’s punchy debut play shifts its gaze away from the epicentre of the MeToo movement towards the auxiliary victims of abuse:

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Monday, January 7, 2019

Swan Lake review at London Coliseum – ‘extraordinary performances’ by Anna Winter

Derek Deane’s 1997 production of Swan Lake for English National Ballet was originally staged as a vast in-the-round spectacle at the Royal

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Thursday, December 13, 2018

Matthew Bourne’s Swan Lake review at Sadler’s Wells – ‘a superb revival’ by Anna Winter

There isn’t a wasted step in Matthew Bourne’s Swan Lake. It’s been more than 20 years since Bourne’s brawny male birds first

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Monday, December 10, 2018

Cinderella and the Beanstalk review at Theatre503, London – ‘screwball energy’ by Anna Winter

Cinderella and Prince Charming have bonded over a shared passion for DIY and bathroom sealant, Rumpelstiltskin is on the rampage and the

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Friday, December 7, 2018

Prima ballerina Natalia Osipova: ‘I don’t like it when artists get involved in politics’ by Anna Winter

Dazzling audiences at Covent Garden for five years, the Royal Ballet principal tells Anna Winter about the differences between dancing in Russia

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Wednesday, December 5, 2018

The Wind in the Willows review at New Vic Theatre, Newcastle-under-Lyme – ‘inventive in-the-round staging’ by Anna Winter

The New Vic’s adaptation of Kenneth Grahame’s classic is full of gentle whimsy and clever stagecraft. The cast of accomplished actor-musicians begins

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Thursday, November 29, 2018

Don’t Forget the Birds review at Battersea Arts Centre, London – ‘tender, honest and superbly performed’ by Anna Winter

What happens when you’re released from prison? In the words of Cheryl Byron, who served three years inside HMP Low Newton, it’s

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Wednesday, November 28, 2018

Dystopian Dream review at Sadler’s Wells, London – ‘flashes of brilliance’ by Anna Winter

Dystopian Dream is an ambitious theatrical setting of Nitin Sawhney’s 2015 album, choreographed and performed by dance duo Honji Wang and Sebastien

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Wednesday, November 21, 2018

The Unknown Soldier review at Royal Opera House, London – ‘slight and sentimental’ by Anna Winter

If only there was a sense of rage in Alastair Marriott’s new one act ballet The Unknown Soldier, which opens the latest

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Friday, November 16, 2018

Hot Lane review at Spode Works, Stoke-on-Trent – ‘a talented cast’ by Anna Winter

It’s 1956 and a prodigal daughter returns to the Potteries after 13 years of mysterious exile in Deborah McAndrew’s latest work for

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Monday, November 12, 2018

Fat Blokes review at Southbank Centre, London –’visibility, vulnerability and sensuality’ by Anna Winter

With the help of four participants (some of whom have never performed professionally before), Scottee is staging a fat rebellion. It’s a

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Friday, November 9, 2018

BalletLorent choreographer Liv Lorent: ‘I’m female, I’m in the north and I make family work. That’s a triple whammy’ by Anna Winter

It’s been 25 years since choreographer Liv Lorent set up dance theatre company BalletLorent. Based in Newcastle-upon-Tyne, the company is known for

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Wednesday, November 7, 2018

Rambert2 review at Sadler’s Wells, London – ‘a thrilling triple bill’ by Anna Winter

Rambert2 has arrived. Made up of 13 newly-graduated dancers from around the world, Rambert’s new junior company is a blazingly talented troupe

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Friday, November 2, 2018

La Bayadere review at Royal Opera House, London – ‘mesmeric and moving’ by Anna Winter

First performed in St Petersburg in 1877, Marius Petipa’s La Bayadere is a grand Imperial classic set to broadly danceable tunes by

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Wednesday, October 24, 2018

Isabella Rossellini’s Link Link review at Southbank Centre – ‘informative, inventive and charming’ by Anna Winter

With a master’s degree in animal behaviour and conservation under her belt, Isabella Rossellini brings a spirit of generosity and wit to

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Friday, October 12, 2018

Reckonings review at Sadler’s Wells, London – ‘promising new commissions’ by Anna Winter

Sadler’s Wells celebrates the 20th anniversary of its transformation into a purpose-built dance house with a promising triple bill of new work

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Tuesday, October 9, 2018

As Sadler’s Wells hits 20, meet the emerging choreographers shaping its future by Anna Winter

Race, politics, disability – these are the issues a trio of emerging choreographers are pushing to the forefront at the iconic London

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Saturday, October 6, 2018

William Forsythe: A Quiet Evening of Dance review at Sadler’s Wells, London – ‘cerebral, mischievous and sublime’ by Anna Winter

Quiet it may be, but William Forsythe’s latest evening of dance at Sadler’s Wells resounds with an extraordinary cerebral and imaginative force.

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