All stories by Lyndsey Winship on BroadwayStars

Thursday, May 19, 2022

High hoops: how two brothers became Africa’s biggest circus duo by Lyndsey Winship

Bibi and Bichu Tesfamariam went from juggling at school in Ethiopia to dazzling audiences with their circus skills around the world. So what’s next? It all started with three oranges. One …

SOURCE: The Guardian at 11:12AM

Rambert review – whirlwinds of wow by Lyndsey Winship

Sadler’s Wells, LondonThe company’s touring triple bill is a showcase of individual brilliance that testifies to the sure creative hand of artistic director Benoit Swan Pouffer When arti…

SOURCE: The Guardian at 06:37AM
Wednesday, May 18, 2022

Grease review – room-filling energy, nostalgia and first-rate tunes by Lyndsey Winship

Dominion theatre, LondonThe unreconstructed sexism remains but so too do the big song and dance numbers in a production featuring Peter Andre If you don’t like the idea of joining an entir…

SOURCE: The Guardian at 08:03AM
Monday, May 16, 2022

Dance legend Alonzo King: ‘People think of love as a sentiment but it’s a force’ by Lyndsey Winship

The revered American choreographer looks back at his political family life and the inspiration of his mother’s movement ahead of a rare UK production with Rambert During the endless screen…

SOURCE: The Guardian at 03:24PM
Thursday, May 12, 2022

Ballet Black review – powerful pairing from the trailblazing troupe by Lyndsey Winship

Theatre Royal Stratford East, LondonThe rich abilities of the dancers are beautifully showcased in the double bill of Say It Loud and Black Sun Over the past 21 years, Ballet Black have blaz…

SOURCE: The Guardian at 10:33AM
Sunday, May 8, 2022

Matsena Productions / House of Absolute review – intense, raw dance by Lyndsey Winship

Sadler’s Wells, London This double bill brings a dramatic response to racial harassment and an affirmation of female power. Together, they showcase the vibrant talent in these two British …

SOURCE: The Guardian at 09:18AM

Ballet Hispánico review – Latinx bite, humour and vogueing in heels by Lyndsey Winship

Curve, LeicesterThe New York company makes a long-awaited English debut with a colourful and lively triple bill that interrogates Latinx stereotypes while celebrating self-actualisation It…

SOURCE: The Guardian at 07:12AM
Thursday, April 28, 2022

Shechter II: Contemporary Dance 2.0 review – young steppers pulse to a clubby score by Lyndsey Winship

Watford Palace theatreHofesh Shechter’s hardworking junior company move through Latin, locking, electronic beats and Bach Hofesh Shechter’s dance always gives way to darkness at some poi…

SOURCE: The Guardian at 07:36AM
Sunday, April 24, 2022

Royal Ballet triple bill review – daredevil effervescence and virtuosity by Lyndsey Winship

Royal Opera House, LondonSteven McRae returns from injury to the role he’d made his own in Frederick Ashton’s Rhapsody, while two other Ashton works make up an evening of playful combina…

SOURCE: The Guardian at 09:54AM
Thursday, April 21, 2022

National Dance Company Wales review – comedy and menace with rumbling tums and giant steps by Lyndsey Winship

The Place, LondonA triple bill from this bright young company features entertainingly noisy body parts, a hint of disaster and some absurdist chaos NDC Wales are a very likable bunch of danc…

SOURCE: The Guardian at 06:24AM
Wednesday, April 20, 2022

Ultimate sleazeball or tortured romantic? The truth about serial seducer Casanova by Lyndsey Winship

He’s been portrayed as a lascivious lothario, a likable scamp and even a female librarian. But who was the real Casanova? As the world’s most infamous lover returns to the stage, our wri…

SOURCE: The Guardian at 03:12AM
Monday, April 18, 2022

‘I would say that we trailblaze’: dance dynamo Pawlet Brookes by Lyndsey Winship

For more than a decade, Let’s Dance International Frontiers has brought fantastic talent to the stage in Leicester. Its founder looks back – and ahead ‘You see people diversifying the …

SOURCE: The Guardian at 05:12PM
Wednesday, April 13, 2022

Mystery Sonatas/for Rosa review – prayers, patterns and a sudden loss of trousers by Lyndsey Winship

Sadler’s Wells, LondonAnne Teresa de Keersmaeker’s piece, dedicated to women of resistance, trades on lightness and simplicity but is overlong This show is dedicated to women of resistan…

SOURCE: The Guardian at 09:18AM
Friday, April 8, 2022

Akram Khan’s Jungle Book Reimagined review – a bleak post-apocalyptic vision by Lyndsey Winship

Curve theatre, LeicesterA grim, sporadically great show sees Mowgli saved by animals who have taken over idle land in the wake of climate disaster News bulletins announce forest fires in nor…

SOURCE: The Guardian at 12:03PM
Tuesday, April 5, 2022

‘I couldn’t keep it inside’: ballet star Olga Smirnova on quitting the Bolshoi and fleeing Russia by Lyndsey Winship

After Putin invaded Ukraine, the Russian dancer denounced the war, left the Kremlin-allied company – and flew out of Moscow that night. As she prepares for her debut at the Dutch National …

SOURCE: The Guardian at 01:07PM
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