Our October 2014 issue is here! As the weather turns to autumn, and theatres and companies launch their new seasons, we speak to dancers Natalia Osipova, Francesca Hayward, Sarah Lamb and Marianela Nuñez, find out about Dance Umbrella’s new director Emma Gladstone and celebrate the 40th birthday of Kenneth MacMillan’s Manon – featured on our cover, which shows Osipova with Carlos Acosta.
A Scandinavian season, a collaboration between composer Thomas Adès and choreographers Karole Armitage, Wayne McGregor, Crystal Pite and Alexander Whitley and a new work by Akram Khan and flamenco star Israel Galván (pictured) are among the highlights of the autumn season at London dance venue Sadler’s Wells.
The Royal Ballet School has announced that Gailene Stock, its director since 1999, died on April 29, 2014, following a long battle with cancer.
Birmingham Royal Ballet has announced plans for the new season at the Birmingham Hippodrome, including a recreation of Robert Helpmann's Miracle in the Gorbals and artistic director David Bintley's new one-act ballet, The King Dances.
Well, here we are at the turn of another year, and everyone at Dancing Times would like to wish all our readers a very happy 2014. I like to think that this issue of the magazine is a kind of mini tribute to Birmingham Royal Ballet (BRB), that much-loved company with its legions of admirers.
The London Coliseum will have a busy spring season for dance, with stars and companies including Ivan Putrov, the Kings of the Dance, Les Ballets de Monte Carlo and Eifman Ballet.
The Art of Displacement is a new exhibition by dance photographer Simon Tomkinson, running at London’s Silverprint Gallery until December 12.
STOP PRESS - Sergei Polunin will also be appearing at the Gala
Anthony Dowell and actor Derek Jacobi will host a gala marking the 40th anniversary of the Yorkshire Ballet Summer School (YBSS), held at Sadler’s Wells on September 29.
Lyric Pieces, Bitesized Ballet, Pineapple Poll
Birmingham Royal Ballet, Swan Theatre, High Wycombe – May 21, 2013
Birmingham Royal Ballet's "split-tour" nomenclature suggests a glass half empty. Its notion of "south west" is misleading too, extending to the doorstep of London – to High Wycombe. The company – well this half of it – looked fresh and danced with typical verve. In cash tight times, this half-pint tour delves into BRB's back catalogue and economically creates more outings for ballets recently performed. Pint glass full, there were no short measures for the Wycombe audience.