All stories by Sarah Crompton on BroadwayStars

Sunday, October 18, 2020

The Royal Ballet: Back on Stage review – an exuberant return by Sarah Crompton

Royal Opera House, LondonFor the RB’s first performance to a live audience since lockdown, Kevin O’Hare prepared an optimistic, invigorating selection of classics The history of the Roya…

Linked From The Guardian at 07:06AM
Sunday, October 4, 2020

The week in dance: Vandekeybus / Rambert, Draw from Within; Hofesh Shechter – review by Sarah Crompton

Wim Vandekeybus lets Rambert loose in a nightmare, while Shechter’s solo piece has a timely sense of constriction The Belgian choreographer Wim Vandekeybus likes to provoke so it’s no su…

Linked From The Guardian at 11:36AM
Sunday, July 19, 2020

Strasbourg 1518: reliving a 16th-century ‘dancing plague’ in lockdown by Sarah Crompton

Inspired by the true story of a summer dance mania in 1518, a haunting new Artangel project directed by Jonathan Glazer films lone performers around the world dancing till they drop In the s…

Linked From The Guardian at 04:48AM
Saturday, March 14, 2020

Richard Alston Dance Company: Final Edition; Swan Lake – review by Sarah Crompton

Sadler’s Wells; Royal Opera House, LondonAlston and company bow out gracefully in the face of budget cuts with a celebratory, intensely moving farewell showRichard Alston has ended where h…

Linked From The Guardian at 12:06PM
Sunday, March 1, 2020

The week in dance: Isadora Now; 13 Tongues and Dust – review by Sarah Crompton

Barbican; Sadler’s Wells, LondonA magnificent double bill by Taiwan’s radical Cloud Gate Theatre overshadows a hymn to Isadora Duncan that only hints at her freedom and force Someone ask…

Linked From The Guardian at 08:06AM
Sunday, February 23, 2020

The week in dance: The Cellist/Dances at a Gathering; Message in a Bottle – review by Sarah Crompton

Royal Opera House; Peacock theatre, LondonJacqueline du Pré’s life story is translated into a powerfully affecting ballet by Cathy Marston, while Kate Prince defies the odds with a refuge…

Linked From The Guardian at 01:54AM
Monday, January 27, 2020

Onegin; English National Ballet 70th anniversary gala – review by Sarah Crompton

Royal Opera House; Coliseum, LondonNatalia Osipova leads an unforgettable revival of John Cranko’s take on Pushkin. And English National Ballet’s celebrations bring back happy memories W…

Linked From The Guardian at 05:03AM
Sunday, January 19, 2020

Marianela Nuñez: ‘Ballet isn’t elitist – it’s our responsibility to make people get it’ by Sarah Crompton

The Royal Ballet principal on her changing roles, how she dances through difficult emotions, and being ‘a complete bunhead’ Marianela Nuñez is one of the most acclaimed ballerinas in th…

Linked From The Guardian at 09:33AM
Monday, December 30, 2019

Sarah Crompton’s best dance of 2019 by Sarah Crompton

Pam Tanowitz hit home at last, Akram Khan and David Bintley bowed out, and the dance world looked back to Merce Cunningham and Margot Fonteyn This felt like a year that belonged to women. F…

Linked From The Guardian at 07:42AM
Monday, December 23, 2019

Matthew Bourne’s The Red Shoes review – an enchanted evening by Sarah Crompton

Sadler’s Wells, LondonAshley Shaw makes a triumphant return as doomed ballerina Vicky Page in Bourne’s inspired adaptation The Red Shoes was the film that cemented my love for ballet. I …

Linked From The Guardian at 05:06PM
Sunday, December 8, 2019

Coppélia review – Francesca Hayward captivates by Sarah Crompton

Royal Opera House, LondonHayward gets things off to a flying start as Ninette de Valois’s comic ballet makes an overdue return Dance has a strange relationship with its past. No art form l…

Linked From The Guardian at 01:54AM
Sunday, November 24, 2019

Acosta Danza: Evolution; Dorrance Dance: Myelination and other works – review by Sarah Crompton

Sadler’s Wells, LondonThe Cuban star returns with a buoyant showcase of his Havana-based company, while Michelle Dorrance takes tap to another level Both Acosta Danza and Dorrance Dance ar…

Linked From The Guardian at 02:18AM
Tuesday, November 12, 2019

Hip-hop to haute couture: dance's love affair with fashion by Sarah Crompton

From the ballet performances like 17th century catwalk shows to Sex and the City’s Carrie Bradshaw in a tutu, two exhibitions explore a stylish symbiotic relationship The shy bookseller pl…

Linked From The Guardian at 07:36AM
Sunday, October 27, 2019

Concerto/ Enigma Variations/ Raymonda Act III; Russell Maliphant: Silent Lines – review by Sarah Crompton

Royal Opera House; Sadler’s Wells, LondonThe Royal Ballet is at the top of its game in a new triple bill of MacMillan, Ashton and a pinch of Petipa, while Russell Maliphant creates a mesme…

Linked From The Guardian at 07:33AM
Sunday, October 20, 2019

Cross Currents/ Monotones II/ Everyone Keeps Me; Danse Élargie – review by Sarah Crompton

Linbury theatre, Royal Opera House; Sadler’s Wells, LondonPam Tanowitz’s dazzling new piece for the Royal Ballet worked perfectly alongside Ashton and Cunningham. Elsewhere, the best of …

Linked From The Guardian at 08:48AM
Saturday, October 12, 2019

The week in dance: Gisèle Vienne: Crowd; Dada Masilo: Giselle – review by Sarah Crompton

Sadler’s Wells, LondonGisèle Vienne creates a mesmeric night of intrigue at a rave, while South African whirlwind Dada Masilo makes a ballet classic her own The women are coming: dark, da…

Linked From The Guardian at 01:12PM
Sunday, October 6, 2019

Manon; Boy Blue: REDD review – five-star performances rise above the fray by Sarah Crompton

Royal Opera House; Barbican, LondonThe Royal Ballet’s Vadim Muntagirov and Sarah Lamb, and Boy Blue’s Kenrick ‘H20’ Sandy, excel in otherwise laboured productions One reason critics …

Linked From The Guardian at 01:33AM
Sunday, September 8, 2019

Alvin Ailey American Dance Theater: Lazarus/Revelations – review by Sarah Crompton

Sadler’s Wells, LondonA hip-hop tribute to Alvin Ailey dazzles with its thrilling interpretation of African American livesThe shadow of Alvin Ailey has always stood over the company he fou…

Linked From The Guardian at 04:42AM
Sunday, August 25, 2019

Bolshoi Ballet: Don Quixote review – makes the heart sing by Sarah Crompton

Royal Opera House, LondonThe Bolshoi’s London residency concludes with more breathtaking old-school brilliance The dancers of the Bolshoi Ballet have packed up their London base and gone h…

Linked From The Guardian at 05:36AM
Sunday, August 18, 2019

Matthew Bourne’s Romeo and Juliet review – the thrilling shock of the new by Sarah Crompton

Sadler’s Wells, LondonBourne and his superb dancers inject visceral new life into Shakespeare’s overworked tragedy You’ve got to hand it to Matthew Bourne, choreographer extraordinaire…

Linked From The Guardian at 05:33AM
Sunday, August 11, 2019

The week in dance: The Crucible; The Bright Stream – review by Sarah Crompton

Edinburgh Playhouse; Royal Opera House, LondonHelen Pickett’s inspired new reworking of an American classic is a keeper. And the Bolshoi’s comic turns on a collective farm prove irresist…

Linked From The Guardian at 04:42AM
Sunday, July 28, 2019

NYDC/Botis Seva: Madhead; Young Associates: Together, Not the Same – review by Sarah Crompton

Sadler’s Wells, LondonYoung hearts ran free in the National Young Dance Company’s thrilling Madhead, but too much was asked of four promising choreographersEnd of term in the dance world…

Linked From The Guardian at 08:48AM
Sunday, July 21, 2019

Maggie the Cat review - wit and passion abound by Sarah Crompton

The Dancehouse, ManchesterTrajal Harrell’s thrilling take on Cat on a Hot Tin Roof stands apart at the Manchester international festival – but more is less elsewhere Sometimes you see a …

Linked From The Guardian at 03:24AM
Sunday, June 9, 2019

Sergei Polunin/Rasputin; Royal Ballet; San Francisco Ballet; Kalakuta Republik – review by Sarah Crompton

London Palladium; Royal Opera House; Sadler’s Wells; BarbicanThe Firebird gets a new lease of life, while San Francisco Ballet mixes Björk with Edith Wharton. Plus, a tribute to a top Fel…

Linked From The Guardian at 04:54AM
Sunday, May 26, 2019

Pam Tanowitz Dance: Four Quartets – review by Sarah Crompton

Barbican Centre, LondonTanowitz’s distinctive choreography, seen for the first time outside the US, is a ravishing interpretation of TS Eliot’s poem “We shall not cease from exploratio…

Linked From The Guardian at 04:33AM
Sunday, May 19, 2019

Rambert: McGregor/ Motin/ Shechter review – back to the future by Sarah Crompton

Sadler’s Wells, LondonA new work by Marion Motin holds its own alongside two old favourites in this Rambert triple billIt’s a good idea from Rambert’s new leadership team of Helen Shut…

Linked From The Guardian at 04:03AM
Sunday, March 31, 2019

Romeo and Juliet review – star-cross'd magic from Matthew Ball and Lauren Cuthbertson by Sarah Crompton

Royal Opera House, LondonThe principals lead an emotionally charged reprise of Royal Ballet’s old faithful At its premiere in 1965, Kenneth MacMillan’s Romeo and Juliet broke new ground:…

Linked From The Guardian at 03:00AM

The one language we all speak: why dance is more popular than ever by Sarah Crompton

From TV’s ‘Strictly’ to films about Nureyev and Acosta, the art form once dismissed as elitist is everywhere. One dance critic explains why… It feels like the future,” says the BBC…

Linked From The Guardian at 03:00AM
Sunday, March 24, 2019

Russell Maliphant and Vangelis: The Thread review – Greek is the word by Sarah Crompton

Sadler’s Wells, LondonMyth meets modernity in this profound and thrilling collaboration In the beginning there is a circle of dancers under a golden light, wrapped together like a liquoric…

Linked From The Guardian at 04:00AM
Sunday, March 3, 2019

Tanztheater Wuppertal Pina Bausch: Bon Voyage, Bob review – striving for significance by Sarah Crompton

Sadler’s Wells, LondonTanztheater Wuppertal’s magnificent dancers are let down by Alan Lucien Øyen’s stultifying meditation on loss What was it that made Pina Bausch so special? How d…

Linked From The Guardian at 02:59AM
Thursday, February 14, 2019

Elaine McDonald obituary by Sarah Crompton

Ballerina who helped build a bridge between classical ballet and the contemporary worldElaine McDonald, who has died aged 75, was one of Britain’s most distinctive ballerinas. Her role as …

Linked From The Guardian at 12:36PM

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2019-2020 BROADWAY SEASON
Oct 06: Slave Play
Feb 01: The Minutes
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