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The week in dance: Balanchine and Robbins; British Ballet Charity Gala; Dangerous Liaisons – review

At last some genuine gala material: Royal Ballet s Balanchine and Robbins reviewed

At last some genuine gala material: Royal Ballet s Balanchine and Robbins reviewed
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Royal Ballet: Balanchine and Robbins review – Vadim Muntagirov s Apollo is simply divine | Royal Ballet

Balanchine and Robbins, Royal Ballet, review: close to earthly perfection

The week in dance: Reunion; 21st-Century Choreographers reviews – a joyous return

Sadler’s Wells; Royal Opera House, London Cue rapturous applause – and backbends – as the stars of ENB and the Royal Ballet storm back to live performance in two bold, future-facing programmes ‘Accelerating mayhem’: members of English National Ballet perform Arielle Smith’s Jolly Folly. Photograph: Dylan Martinez/Reuters ‘Accelerating mayhem’: members of English National Ballet perform Arielle Smith’s Jolly Folly. Photograph: Dylan Martinez/Reuters Sun 23 May 2021 04.00 EDT Ballet is back, and it’s the little things I’ve missed. The slap of a sole on the floor, the skitter of a pointe shoe. That sudden intake of breath before a leap. The swoosh of a turn. Those tiny sounds of effort and release are signifiers of the bigger thing that makes live dance unique: its ability to embody a wide range of emotion in a tangible form.

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