All stories by Anna Winter on BroadwayStars

Tuesday, June 18, 2019

Ballet Cymru: Romeo a Juliet review – full-throttle fights in the valleys by Anna Winter

New Vic, Newcastle-under-LymeThis nimble company has scaled Shakespeare back to suit its 12 dancers, and in Danila Marzilli they have a knockout Juliet Ballet Cymru’s energetic Romeo a Jul…

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Wednesday, June 5, 2019

The Firebird/A Month in the Country/Symphony review in C at Royal Opera House, London – ‘a blazing debut’ by Anna Winter

Principal dancer Yasmine Naghdi makes a blazing debut in The Firebird in the Royal Ballet’s latest triple bill. Against the mysterious glimmer

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Tuesday, June 4, 2019

San Francisco Ballet: Snowblind/Bjork Ballet/The Infinite Ocean review at Sadler’s Wells – ‘blissful balletic rave’ by Anna Winter

San Francisco Ballet continues to dish up delectable European premieres in the second of its four mixed programmes. The only narrative piece

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Royal Ballet principal Lauren Cuthbertson: ‘I strive to improve, but I’m comfortable with who I am’ by Anna Winter

Since joining the Royal Ballet in 2002, the principal dancer has developed an impressively varied repertoire that includes leading roles in works

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Wednesday, May 29, 2019

Sergei Polunin: Programme 1 review at London Palladium – ‘tedious and uncomfortable’ by Anna Winter

Strap yourself in for some hollow sentiment and hubris – ballet’s enfant terrible Sergei Polunin is back in town. The Ukrainian dancer’s

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Friday, May 17, 2019

Rambert: McGregor / Motin / Shechter review at Sadler’s Wells, London – ‘an unbalanced triple bill’ by Anna Winter

Rambert’s new artistic director Benoit Swan Pouffer has made a bold but dubious statement of intent with his initial programme, bringing in

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Tuesday, May 14, 2019

How do you become a ballet dancer? by Anna Winter

Ballet’s reputation for requiring hard work, long hours and physical pain is not without merit, but there is fun to be had

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Dramaturg Uzma Hameed: ‘Ballet is so sublime, it has to handle big ideas, surely?’ by Anna Winter

Dramaturgs are not common in ballet. Uzma Hameed, the co-creator of Northern Ballet’s Victoria and Wayne McGregor collaborator, tells Anna Winter how

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Monday, May 13, 2019

Labouring the pointe: building the perfect ballet shoe by Anna Winter

Making ballerinas’ footwear is a mix of physical labour and nuanced expertise. Anna Winter speaks to shoe experts and principals about the

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Dog Without Feathers review at Southbank Centre, London – ‘acrobatic but tiresome new dance piece’ by Anna Winter

Brazilian choreographer Deborah Colker’s Dog Without Feathers, inspired by Joao Cabral de Melo Neto’s poem of the same name, concerns the Capibaribe

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Thursday, May 9, 2019

Within the Golden Hour/Medusa/Flight Pattern review at Royal Opera House, London – ‘serpentine new work from Sidi Larbi Cherkaoui’ by Anna Winter

Abuse of power, victim-blaming, emasculation and female rage – the Medusa myth contains so much that resonates today. It’s disappointing that superstar

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Tuesday, April 9, 2019

Choreographer Russell Maliphant: ‘The work is about sensing the body, that it’s pulsing with blood’ by Anna Winter

The award-winning choreographer’s new work with video artist Panagiotis Tomaras draws on his training in the alternative therapy of Rolfing. He tells

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Monday, April 8, 2019

Ivan Putrov’s Against the Stream review at London Coliseum – ‘triumphant hits and the odd miss’ by Anna Winter

Dancer and producer Ivan Putrov’s Against the Stream is an enjoyable showcase of works by choreographers who, to a greater or lesser

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Thursday, March 28, 2019

After Edward review at Sam Wanamaker Playhouse, London – ‘poignant, funny and expertly performed’ by Anna Winter

Tom Stuart’s affecting and funny new play, written in response to playing Christopher Marlowe’s doomed king, a role he’s concurrently performing in

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Wednesday, March 27, 2019

Victoria review at Sadler’s Wells, London – ‘a ballet to treasure’ by Anna Winter

Choreographing the Corn Laws is a bit of an ask – narrative ballet inevitably struggles for nuance when it comes to statecraft.

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Friday, March 22, 2019

Pepperland review at Sadler’s Wells, London – ‘Mark Morris’ colourful Beatles tribute’ by Anna Winter

Originally unveiled in 2017 to mark the 50th anniversary of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, Mark Morris’ Pepperland is

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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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