All stories by Rachel Elderkin on BroadwayStars

Thursday, April 27, 2017

Motionhouse: Scattered review at Peacock Theatre, London – ‘daring feats’ by Rachel Elderkin

Motionhouse makes highly physical and daring dance work, often performed outdoors. The set always plays a major role in the company’s work,

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Wednesday, April 26, 2017

Marc Brew Company: Brewband review at Sadler’s Wells, London – ‘creative and eclectic’ by Rachel Elderkin

Ear plugs are being offered to the audience on the way in. Brewband, part gig, part dance piece, is the work of

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Monday, April 24, 2017

Tarantiseismic review at Sadler’s Wells, London – ‘primal and passionate’ by Rachel Elderkin

A series of hunched forms are draped in grey cloaks. They look like a landscape. A palpable tension runs through the figures

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Friday, April 21, 2017

MK Ultra review at Laban Theatre, London – ‘slick and striking’ by Rachel Elderkin

Rosie Kay is known for the extensive research she conducts for her projects. Previous piece 5 Soldiers saw her dancers undertake training

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Wednesday, April 19, 2017

Aracaladanza review at Sadler’s Wells, London – ‘playful and inventive’ by Rachel Elderkin

Dance company Aracaladanza has been a regular part of the Sadler’s Wells family weekend since 2008. The two-day event sees the building

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Men and Girls Dance review at the Place, London – ‘direct and vital’ by Rachel Elderkin

Men and Girls Dance is undoubtedly a provocative title. But then this is a piece designed to challenge the preconceptions of its

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Friday, April 7, 2017

Review: RUN at The Place by Rachel Elderkin

Adrenalin-fuelled, beguiling, and vaguely Dionyisian: Rebecca Elderkin is frustrated by 2Faced Dance's uneven triple-bill. The post Review: RUN at The Place appeared first on Exeunt Magazine.

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Tuesday, April 4, 2017

Jewels review at Royal Opera House, London – ‘sparkling and sublime’ by Rachel Elderkin

It’s a decade since Jewels first entered the Royal Ballet’s repertoire as a full work and, in the year that sees the

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Friday, March 24, 2017

Bausch/Forsythe/van Manen Triple Bill review at Sadler’s Wells, London – ‘ambitious’ by Rachel Elderkin

Tamara Rojo has created an ambitious programme. Featuring signature works of Pina Bausch, William Forsythe and Hans van Manen, it’s a triple

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Wednesday, March 8, 2017

Wayne McGregor’s Tree of Codes review at Sadler’s Wells, London – ‘exhilarating’ by Rachel Elderkin

Wayne McGregor’s Tree of Codes, a work which sees his company perform alongside dancers of the Paris Opera Ballet, is based upon

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Saturday, March 4, 2017

Arthur Pita’s Stepmother/Stepfather review at the Place, London – ‘unsettling and ingenious’ by Rachel Elderkin

Arthur Pita’s fairytale double-bill revels in the dark side of human nature. A macabre medley of fairytales, Stepmother features the petite, innocent-looking

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Friday, February 17, 2017

Cinderella review at Hippodrome, Birmingham – ‘a joy to watch’ by Rachel Elderkin

David Bintley’s production of Cinderella for Birmingham Royal Ballet is, for the most part, a sparkling version of the traditional tale. But

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Tuesday, February 14, 2017

Matthew Bourne’s Early Adventures review at Richmond Theatre – ‘joyous and entertaining’ by Rachel Elderkin

After winning the International Award for his company’s touring work at The Stage Awards 2017, Early Adventures sees Matthew Bourne return to

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Thursday, January 26, 2017

52 Portraits review at Lilian Baylis Studio, London – ‘honest and insightful’ by Rachel Elderkin

Throughout 2016, choreographer Jonathan Burrows, composer Matteo Fargion and video maker Hugo Glendinning released a weekly video portrait of a selected dance

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Tuesday, January 24, 2017

Resolution review at the Place, London – ‘innovative and unpredictable’ by Rachel Elderkin

This is the 28th edition of Resolution, the Place’s annual festival for contemporary dance. Showing three pieces a night across the six

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Thursday, January 19, 2017

Moscow City Ballet’s Romeo and Juliet review at Richmond Theatre – ‘expressive and spirited’ by Rachel Elderkin

Moscow City Ballet’s touring production of Romeo and Juliet opens with its closing tableaux. The bodies of the tragic lovers and their

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Tuesday, December 13, 2016

The Little Match Girl review, Lilian Baylis Studio, Sadler’s Wells – ‘an inventive delight’ by Rachel Elderkin

It seems odd to say that the story of an orphaned, shivering match girl is a delight, but Arthur Pita’s remake of

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Friday, November 11, 2016

Plan B for Utopia review at the Place, London – ‘upfront dance-theatre’ by Rachel Elderkin

Why is it easier to imagine the end of the world than the world changing for the better? That is the question

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Tuesday, November 8, 2016

Rambert Contemporaries review at Sadler’s Wells, London – ‘superbly danced’ by Rachel Elderkin

In the company’s 90th year, Rambert Contemporaries brings together the work of three rising choreographers, all of whom have danced with the

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Friday, November 4, 2016

Yang Liping: Under Siege review at Sadler’s Wells, London – ‘a cinematic quality’ by Rachel Elderkin

Clusters of scissors are suspended above the stage. Every so often they are lowered, their sharp points encroaching on the space as

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Thursday, November 3, 2016

Virgin Territory review at the Place, London – ‘bold and honest dance theatre’ by Rachel Elderkin

It’s concerning that, in a world where sexualised images are part of our culture, adults have little control over what their children

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