All stories by Lyndsey Winship on BroadwayStars

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
Thursday, February 17, 2022

NDT2 review – dancing clean enough to eat your dinner off by Lyndsey Winship

Sadler’s Wells, LondonThe incredible young dancers of NDT’s satellite company easily navigate a triple bill of Hans van Manen, Marco Goecke and Johan Inger, fleet and varied NDT2 is a co…

SOURCE: The Guardian at 09:03AM
Wednesday, February 16, 2022

Donuts review – in sync with the delicate dynamics of friendship by Lyndsey Winship

The Place, LondonFusing funk styles with contemporary dance, Jamaal Burkmar’s original voice and feelgood choreography is warm, fun and very watchable The programme notes for Jamaal Burkma…

SOURCE: The Guardian at 10:06AM
Friday, February 11, 2022

Snow Maiden review – The Russian State Ballet of Siberia’s stilted fairytale by Lyndsey Winship

New Theatre, OxfordThere’s a general sense of wasted potential in a show that has flashes of brilliance, yet feels light on vitality with an underwhelming score The Russian State Ballet of…

SOURCE: The Guardian at 09:03PM
Thursday, February 10, 2022

Acosta Danza: 100% Cuban review – Carlos’s mesmerising movers by Lyndsey Winship

Sadler’s Wells, LondonThe company mix worldwide influences into Cuban dance and though not all these cocktails hit the mark, they make for an intoxicating evening Carlos Acosta doesn’t c…

SOURCE: The Guardian at 07:54AM
Friday, February 4, 2022

Tanztheater Wuppertal Pina Bausch: Kontakthof review – the miseries of mating by Lyndsey Winship

Sadler’s Wells, LondonTender, brutal and humorous, the choreographer’s 1978 piece about gender wars and sexual mores still feels acutely contemporary It was 40 years ago that choreograph…

SOURCE: The Guardian at 07:06AM
Friday, January 28, 2022

Compagnie 111: aSH review – godlike serenity and transcendent movement by Lyndsey Winship

Barbican, LondonKuchipudi dancer Shantala Shivalingappa is hypnotically precise in a piece about renewal and transformation inspired by the Hindu god Shiva The Hindu god Shiva is an inspirat…

SOURCE: The Guardian at 06:54AM
Thursday, January 13, 2022

‘Bam! Incredible energy’ – how a group of performers with learning disabilities are changing dance by Lyndsey Winship

For 30 years, pioneering company Corali has subverted audience expectations. Now it’s helping queer-dance duo Thick & Tight with a work about poet Edith Sitwell We’ve all got our tea…

SOURCE: The Guardian at 12:12PM

Gandini Juggling: Life review – Merce Cunningham tribute is a little gem by Lyndsey Winship

Sadler’s Wells, LondonCombining juggling and contemporary dance, this is a complex and accomplished homage to the late choreographer There have been many tributes to the great choreographe…

SOURCE: The Guardian at 06:36AM
Wednesday, January 12, 2022

A 10-year triumph: how Tamara Rojo transformed English National Ballet by Lyndsey Winship

The dancer, choreographer and artistic director has shown great ambition and had an astonishing impact at the company Right now, Tamara Rojo is putting the finishing touches to the first bal…

SOURCE: The Guardian at 09:54AM
Tuesday, January 4, 2022

Raymonda reborn: Tamara Rojo on ditching the sexism, Arab stereotypes, and 32 one-legged jumps by Lyndsey Winship

The ENB director has pulled the story forward to the Crimean war, based the female lead on Florence Nightingale – and adapted the choreography for today’s more slender dancers When peopl…

SOURCE: The Guardian at 05:03PM
Monday, December 27, 2021

Theatre, dance and comedy to book in 2022 – from Alan Partridge to Tennessee Williams by Arifa Akbar, Lyndsey Winship and Brian Logan

Amy Adams makes her West End debut, immersive dance confronts mental health and Steve Coogan’s alter ego embarks on a rare live UK tour • Preview more cultural highlights of 2022 Continu…

SOURCE: The Guardian at 03:36AM
Saturday, December 18, 2021

The best theatre, comedy and dance of 2021 by Arifa Akbar, Brian Logan and Lyndsey Winship

It was a year of revivals in every sense, as venues threw open their doors again. From fresh takes on classics to blazing new talents and shows that captured the current moment, our critics …

SOURCE: The Guardian at 01:54AM
Thursday, December 16, 2021

Matthew Bourne’s Nutcracker! review – a pink, chewy fizz of a show by Lyndsey Winship

Sadler’s Wells, LondonBourne’s reworked version has a darker edge but it’s still full of wit, energy and colour, with a sensuous thrill It’s nearly a decade since Matthew Bourne’s …

SOURCE: The Guardian at 10:33AM
Thursday, December 2, 2021

Romeo & Juliet review – Sergei Polunin in swashbuckling form by Lyndsey Winship

Royal Albert Hall, LondonChoreographed by Johan Kobborg, this is an often overblown show but has a divine turn from Alina Cojocaru This vehicle for Ukrainian ballet star Sergei Polunin, crea…

SOURCE: The Guardian at 07:42AM
Tuesday, November 30, 2021

‘I tell myself: You’re a penis’: Sergei Polunin on drugs, bad tweets – and his Putin chest tattoo by Lyndsey Winship

He walked out of the Royal Ballet and went off the rails. But the bad boy of ballet is now a father with a responsible a new attitude – and he’s even dancing Romeo and Juliet Dancers swe…

SOURCE: The Guardian at 10:48AM
Thursday, November 25, 2021

Outwitting the Devil review – Akram Khan’s dancers defy all limits by Lyndsey Winship

Sadler’s Wells, LondonThe shows’s Gilgamesh-inspired plot may be near-impossible to follow – but its dazzling performers are hard to resist Purely in terms of the dancing, the physical…

SOURCE: The Guardian at 10:18AM
Wednesday, November 24, 2021

Fishnets, French kisses and fireworks: inside Moulin Rouge! The Musical by Lyndsey Winship

After winning 10 Tony awards on Broadway, an adaptation of Baz Luhrmann’s high-kicking, pop song-mashing film hits both the West End and Melbourne. Its creators draw back the red velvet cu…

SOURCE: The Guardian at 01:18AM
Friday, November 19, 2021

La Clique review – intimate alt cabaret full of giddy thrills by Lyndsey Winship

Leicester Square Spiegeltent, LondonFrom a sword-swallowing fire-breather to high-risk rollerskaters and the Incredible Hula Boy, this is sexy, edgy, head-exploding stuff Taking the Edinburg…

SOURCE: The Guardian at 11:03AM
Wednesday, November 17, 2021

Gardenia 10 Years Later review – a drag cabaret’s frail, moving swansong by Lyndsey Winship

Sadler’s Wells, LondonThe performers of the Belgian company Les Ballets C de la B revive a decade-old stage show with added poignancy Vanessa Van Durme walks falteringly to the mic, should…

SOURCE: The Guardian at 07:48AM
Friday, November 12, 2021

We Are Not Finished review – youth manifesto has anger but no activism by Lyndsey Winship

The Place, LondonDevised piece presenting the hopes and fears of its young, untrained cast contemplates a burning world severed by divisions There’s no way this many teenagers have this li…

SOURCE: The Guardian at 06:18AM
Thursday, November 11, 2021

Samskara review – Lanre Malaolu’s gem weaves Shakespeare with Sisqó by Lyndsey Winship

The Yard, LondonThis ingenious dance-play hybrid makes use of a richly talented cast to interrogate black masculinity and dismantle stereotypes Who in tonight’s audience, I wonder, thought…

SOURCE: The Guardian at 11:42AM
Tuesday, November 9, 2021

Shake your frozen pizza! The scrappy have-a-go exuberance of dance on TikTok by Lyndsey Winship

From tap stars duetting with Gene Kelly to Gordon Ramsay twisting with his daughter, TikTok is where performers – large, small, amateur, pro – drop the facade and dance till their toes a…

SOURCE: The Guardian at 09:33AM
Friday, November 5, 2021

Royal Ballet: Giselle review – a supernatural tour de force from Natalia Osipova by Lyndsey Winship

Royal Opera House, LondonSupported by a talented cast in Peter Wright’s acclaimed production, the principal makes an astounding return to the role she has made her own Natalia Osipova is a…

SOURCE: The Guardian at 09:18AM
Wednesday, November 3, 2021

Indecent Proposal review – middling musical remake of 90s hit thriller by Lyndsey Winship

Southwark Playhouse, LondonJazzy vocals come to the rescue of the latest throwback blockbuster to land on the London stage It seems an unlikely proposal, if not an indecent one, to turn the…

SOURCE: The Guardian at 10:42AM

‘The bikini line is still a no-no’: why does dance have a problem with body hair? by Lyndsey Winship

Chests must be de-fuzzed, armpits shaved, legs waxed. But as dance becomes more diverse, should it stop policing what grows naturally? Top performers speak out about their body hair The idea…

SOURCE: The Guardian at 06:18AM
Thursday, October 28, 2021

‘Getting into your emotions is difficult for men’: dance artist Botis Seva on getting to the heart of hip-hop by Lyndsey Winship

The choreographer found himself in a dark place after his son’s birth. He talks about drawing on his fears of being a father to create the Olivier award-winning BLKDOG When Botis Seva was …

SOURCE: The Guardian at 07:42PM
Friday, October 22, 2021

Transverse Orientation review – beauty and disgust from Dimitris Papaioannou by Lyndsey Winship

Sadler’s Wells, LondonFake babies waving to the audience, an imposing puppet bull and an optical illusion of entwined limbs combine in a cocktail of contradictions Is there anywhere else y…

SOURCE: The Guardian at 07:54AM
Thursday, October 21, 2021

The Body Remembers review – powerful exploration of trauma by Lyndsey Winship

Battersea Arts Centre, LondonHeather Agyepong uses improvised movement, set to a soundtrack of real women’s testimonies, to search for equilibrium amid pain Heather Agyepong cares if you…

SOURCE: The Guardian at 04:36PM
Monday, October 18, 2021

L’Heure Exquise review – a Beckettian ballerina buried in pointe shoes by Lyndsey Winship

Royal Opera House, Linbury theatre, LondonMaurice Béjart’s adaptation of Happy Days sees Alessandra Ferri up to her hips in ballet shoes in this sparse, dreamlike work Alessandra Ferri is…

SOURCE: The Guardian at 08:42AM
Friday, October 15, 2021

The Dante Project review – Wayne McGregor moves heaven, earth and hell by Lyndsey Winship

Royal Opera House, LondonThe Divine Comedy is brilliantly reimagined by McGregor with music by Thomas Adès, sets by Tacita Dean and a poetic send-off for Edward Watson For his new ballet, W…

SOURCE: The Guardian at 01:03PM