All stories by Sarah Crompton on BroadwayStars

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 08:18AM
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 04:42AM
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
Saturday, July 30, 2022

Alan Cumming: ‘Men have a difficult time controlling our desire’ by Sarah Crompton

Alan Cumming has worked with Stanley Kubrick and the Spice Girls – now he’s starring in a dance show about Scotland’s most famous poet. He talks to Sarah Crompton about male desire, wh…

SOURCE: The Independent at 02:07AM
Sunday, July 10, 2022

Shechter II: Contemporary Dance 2.0 review – uplifting and strangely emotional by Sarah Crompton

Arts Depot, London; and touringThe young dancers nurtured by Hofesh Shechter rise to the challenge of his teasing 2019 work with irresistible confidence In the history of British dance, the …

SOURCE: The Guardian at 05:37AM
Sunday, July 3, 2022

AfteRite + Lore review – Wayne McGregor’s radical Stravinsky double bill by Sarah Crompton

La Scala, MilanIn its world premiere performance, McGregor makes Les Noces his own, while the extraordinary Alessandra Ferri stars in his 2018 take on The Rite of Spring Igor Stravinsky argu…

SOURCE: The Guardian at 06:18AM
Sunday, June 26, 2022

Trajal Harrell: Porca Miseria review – a work of profound emotion by Sarah Crompton

Internationaal Theater AmsterdamThe American dance-maker brings the audience to tears with a highly textured ritual of remembrance for a dying person You always remember the moment when a ch…

SOURCE: The Guardian at 04:54AM
Sunday, June 19, 2022

The Car Man; Like Water for Chocolate review – two narrative delights by Sarah Crompton

Royal Albert Hall; Royal Opera House, LondonMatthew Bourne and Christopher Wheeldon bring Broadway dazzle and cinematic power to their adaptations of Bizet’s Carmen and Laura Esquivel’s …

SOURCE: The Guardian at 04:42AM
Sunday, June 12, 2022

The Rite of Spring review – a bruising collision of life, sex and death by Sarah Crompton

Sadler’s Wells, LondonA Covid-dogged company of African dancers triumph in an unbearable yet riveting revival of Pina Bausch’s take on Stravinsky In Lynn Garafola’s outstanding new bio…

SOURCE: The Guardian at 05:07AM
Sunday, June 5, 2022

Carmen review – this is Natalia Osipova’s show by Sarah Crompton

Queen Elizabeth Hall, LondonThe Royal Ballet star electrifies in Didy Veldman’s tricksy new reworking of a ubiquitous classic Natalia Osipova is such a particular talent. The force of her …

SOURCE: The Guardian at 04:54AM
Sunday, May 29, 2022

Written in the Body review – full of striking images and insights by Sarah Crompton

Attenborough Centre for the Creative Arts, BrightonCharlotte Spencer’s examination of memory and the body is strongest when it focuses on specifics For the past 10 years, the choreographer…

SOURCE: The Guardian at 05:33AM
Sunday, May 22, 2022

Anne-Marie Duff: ‘We’re a country in trauma – the last 10 years have been a s*** show’ by Sarah Crompton

The ‘Shameless’ star talks to Sarah Crompton about the cost of living crisis, motherhood, Botox and her new play, ‘The House of Shades’

SOURCE: The Independent at 12:12PM

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Nov 27, 2022: KPOP - Circle In The Square