All stories by Sarah Crompton on BroadwayStars

Sunday, March 19, 2023

Seeta Patel Dance: The Rite of Spring; Turn It Out With Tiler Peck & Friends – review by Sarah Crompton

Sadler’s Wells, LondonPatel and Peck push the classical forms of bharatanatyam and ballet in joyous and inventive new directions How do you honour classical dance technique while making it…

SOURCE: The Guardian at 05:00AM
Sunday, March 12, 2023

Ballet Black: Pioneers review – an uplifting tribute to Nina Simone by Sarah Crompton

Barbican theatre, LondonMthuthuzeli November’s passionate new work celebrating the musician is paired with Will Tuckett’s fine piece inspired by the poet Adrienne Rich Two powerful women…

SOURCE: The Guardian at 05:00AM
Tuesday, March 7, 2023

‘Ballet has the same appeal as Princess culture’: Alice Robb on how would-be ballerinas are taught to be thin, silent and submissive by Sarah Crompton

The writer talks to Sarah Crompton about her book exploring the pain and sacrifice of ballet training even for those who don’t make it to the top, and the way it perpetuates traditional id…

SOURCE: The Independent at 02:09AM
Sunday, March 5, 2023

Woolf Works review – Alessandra Ferri goes deeper in Wayne McGregor’s modern masterpiece by Sarah Crompton

Royal Opera House, LondonThe Italian star graces a flawless revival of McGregor’s dreamlike 2015 ballet inspired by the writings of Virginia Woolf Woolf Works is a beauty – a ballet of r…

SOURCE: The Guardian at 04:00AM
Sunday, February 26, 2023

Alessandra Ferri: ‘Dancing with Nureyev​,​ I swear he had an energetic aura around him’ by Sarah Crompton

The principal ballerina on portraying Virginia Woolf, why she’s so enthusiastic about ageing, and what she learned from the greats Born in Milan in 1963, Alessandra Ferri was a principal w…

SOURCE: The Guardian at 04:30AM

Dada Masilo’s The Sacrifice review – deeply moving and astonishingly fresh by Sarah Crompton

Brighton Dome and touringThe South African choreographer transforms The Rite of Spring using the music, rhythms and rituals of her Tswana background The South African choreographer Dada Masi…

SOURCE: The Guardian at 04:00AM

Tracy-Ann Oberman: ‘Shakespeare could not avoid the attitude of hatred towards Jews at the time he was writing’ by Sarah Crompton

The actor talks to Sarah Crompton about setting ‘The Merchant of Venice’ at the time of Oswald Mosley’s fascists, and her thoughts on trigger warnings

SOURCE: The Independent at 01:30AM
Sunday, February 12, 2023

‘It’s a grief and a healing’: why dance-makers love The Rite of Spring by Sarah Crompton

Stravinsky’s ballet sensation of 1913 shocked its first Paris audience. More than 150 versions later, the far-reaching pull of this modernist masterpiece remains irresistible… For a work…

SOURCE: The Guardian at 08:00AM

Secret Things/ Everyone Keeps Me; Dance Me review – the glory of Pam Tanowitz by Sarah Crompton

Linbury theatre, Royal Opera House; Sadler’s Wells, LondonThe American choreographer delights with a programme of rare wit, beauty and unshowy complexity. Elsewhere, a Vegas-style tribute …

SOURCE: The Guardian at 12:30AM
Saturday, January 28, 2023

Acosta Danza: Spectrum; Julie Cunningham: How Did We Get Here? – review by Sarah Crompton

Royal Opera House; Sadler’s Wells, LondonBig personalities shine out in the Cuban company’s celebratory show. And Mel C holds her own in Cunningham’s opaque new work In ballet, the dan…

SOURCE: The Guardian at 07:00AM
Sunday, January 22, 2023

The Sleeping Beauty review – a vintage production rises and shines by Sarah Crompton

Royal Opera House, LondonIt’s unapologetically retro, and there’s no story, but the Royal Ballet’s latest revival of Petipa’s intricate masterpiece casts its spell When choreographer…

SOURCE: The Guardian at 04:00AM
Sunday, December 18, 2022

Matthew Bourne’s Sleeping Beauty review – delights the heart and mind by Sarah Crompton

Sadler’s Wells, LondonDanced with vigour and detail, Bourne’s ingenious fairytale fix is brought bang up to date in this 10th anniversary revival Amid all the pink, sparkly tinsel of num…

SOURCE: The Guardian at 06:24AM
Saturday, December 17, 2022

Dance: Sarah Crompton’s five best shows of 2022 by Sarah Crompton

Past and present entwined in a sparkling postmodern revival, plus a sensational take on Stravinsky and Crystal Pite’s sublime dance of life Read the Observer critics’ review of 2022 in f…

SOURCE: The Guardian at 01:18PM
Sunday, December 11, 2022

Ruination review – fabulous festive myth and murder from Lost Dog by Sarah Crompton

Linbury theatre, Royal Opera House, LondonBen Duke’s retelling of the Medea myth may not have the trappings of Christmas cheer, but its inventive wit brings real delight Well, hats off to …

SOURCE: The Guardian at 05:48AM
Sunday, December 4, 2022

Israel Galván: La Consagración de la Primavera review – Stravinsky’s Rite reborn by Sarah Crompton

Sadler’s Wells, LondonThe flamenco star reinvents Stravinsky’s 1913 ballet in a stunning solo show that seems to take over his entire body Israel Galván slinks on to the stage from the …

SOURCE: The Guardian at 04:48AM
Sunday, November 20, 2022

The Royal Ballet: A Diamond Celebration review – looking forward with friends by Sarah Crompton

Royal Opera House, LondonWorld premieres, old favourites and a ballet legend in the house make for a memorable gala evening Ballet loves an event, an opportunity to pull out the posh frocks …

SOURCE: The Guardian at 05:24AM
Monday, November 14, 2022

Matthew Modine:​ ​‘I didn’t want to do Stranger Things but ​t​he Duffer Brothers kept ringing me up’ by Sarah Crompton

The actor and environmentalist on playing Atticus Finch, the character’s importance today, and why he dyed his hair white for Stranger Things Actor Matthew Modine, born in California in 19…

SOURCE: The Guardian at 06:54AM
Sunday, November 13, 2022

‘I want people to walk away with a sense we can triumph together’: the making of Mandela the musical by Sarah Crompton

Two South African brothers have spent seven years developing a musical about Nelson Mandela’s younger, radical years. His family are supportive, but political musicals are high risk… We …

SOURCE: The Guardian at 11:18AM
Saturday, November 12, 2022

English National Ballet: Ek/ Forsythe/ Quagebeur review – a fantastic farewell from Tamara Rojo by Sarah Crompton

Sadler’s Wells, LondonMats Ek’s riveting new Rite of Spring for the #MeToo era is the centrepiece of the company’s last triple bill under its transformative artistic director This was …

SOURCE: The Guardian at 09:03AM
Sunday, November 6, 2022

Birmingham Royal Ballet: Into the Music; Made in Leeds: Three Short Ballets – review by Sarah Crompton

Sadler’s Wells; Linbury Studio theatre, Royal Opera House Inspired by Munch paintings and infused with hip-hop, two invigorating triple bills by Royal Ballet alumni are a riot of styles an…

SOURCE: The Guardian at 05:03AM
Sunday, October 30, 2022

Navy Blue review – Oona Doherty’s dark night of the soul by Sarah Crompton

Sadler’s Wells, LondonImbuing the balletic grace of her dancer’s movements with tension and anxiety, Doherty asks a refreshing yet unsettling question: what’s the point of dance? An a…

SOURCE: The Guardian at 05:37AM
Sunday, October 23, 2022

Light of Passage review – Crystal Pite’s magnificent dance of life by Sarah Crompton

Royal Opera House, LondonThe Canadian choreographer has turned 2017’s acclaimed Flight Pattern into a full-length work that brims with massed energy and profound humanity Crystal Pite is a…

SOURCE: The Guardian at 06:03AM
Sunday, October 16, 2022

Dance Umbrella digital festival review – riches from punk to samba to the supermarket by Sarah Crompton

The online programme of the forward-facing London festival boasts thoughtful and varied work by Calixto Neto, Abby Zbikowski and more Dance Umbrella, London’s celebration of cutting-edge d…

SOURCE: The Guardian at 04:43AM
Sunday, October 9, 2022

Mayerling review – astounding from beginning to end by Sarah Crompton

Royal Opera House, LondonKenneth MacMillan’s bleak psychological period piece is a gift for the Royal Ballet’s dancers, who take turns in performances of gripping, in-the-moment power Wh…

SOURCE: The Guardian at 04:33AM
Sunday, October 2, 2022

Peaky Blinders: The Redemption of Thomas Shelby review – firing blanks by Sarah Crompton

Birmingham Hippodrome, and touringRambert’s dancers bring style, but can’t provide substance, to this somewhat inert adaptation of the hit TV crime series I watched every second of all s…

SOURCE: The Guardian at 10:19AM
Sunday, September 25, 2022

Choreographer Kate Prince: ‘Hip-hop is like a massive jar of honey’ by Sarah Crompton

The founder of ZooNation on how the company – about to celebrate its 20th anniversary – helped to bring hip-hop dance into the mainstream The choreographer, director and writer Kate Prin…

SOURCE: The Guardian at 05:07AM
Sunday, September 18, 2022

United Ukrainian Ballet: Giselle review – a moving act of defiance by Sarah Crompton

Coliseum, LondonIn borrowed costumes, this company exiled by war inhabit Alexei Ratmansky’s take on the 19th-century classic High emotion inevitably surrounded this production of Giselle …

SOURCE: The Guardian at 05:33AM
Sunday, September 11, 2022

The Goldberg Variations, BWV 988; Nureyev: Legend and Legacy review – making sound visible by Sarah Crompton

Sadler’s Wells; Theatre Royal Drury Lane, LondonAnne Teresa de Keersmaeker creates a revelatory response to Bach, while a gala celebrating the dance legend is full of bravura dancing A wee…

SOURCE: The Guardian at 04:33AM
Sunday, August 21, 2022

Phaedra and Minotaur review – Kim Brandstrup’s ravishing new work puts Ariadne centre stage by Sarah Crompton

Ustinov Studio, Theatre Royal BathBrandstrup’s superbly danced reimagining of the Minotaur myth is paired with mezzo Christine Rice’s impassioned Phaedra in Britten’s cantata As a youn…

SOURCE: The Guardian at 06:12AM
Sunday, August 14, 2022

Burn; Ballet Freedom review – Alan Cumming gives it a whirl as Robert Burns by Sarah Crompton

King’s Theatre; Pleasance at EICC, EdinburghThe actor makes his dance debut in a visually stunning yet curiously empty life of the poet. But every move counts in the Freedom Ballet of Ukra…

SOURCE: The Guardian at 07:03AM
Sunday, July 31, 2022

Carnación; Petrushka review – two contrasting personal visions by Sarah Crompton

Teatro alle Tese, VeniceSilver Lion winner Rocío Molina unleashes raw energy, while Golden Lion winner Saburo Teshigawara turns his gaze inward, at Wayne McGregor’s Venice Dance Biennale …

SOURCE: The Guardian at 04:42AM

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Nov 27, 2022: KPOP - Circle In The Square