The Place’s innovative dance festival, Resolution 2020, offers three works which explore the construction and performativity of gender, as well as the mental health issues facing young people today.
Tanztheater Wuppertal Pina Bausch revive one of the late choreographer’s original and most startling works. In Bluebeard, relationships between men and women are laid bare in all their ugliness and beauty.
Russell Maliphant returns to the delightfully eccentric Coronet Theatre for the third time with maliphantworks3, a terrific triple bill of dance and film.
Company Concentric return to Resolution 2020 with their captivating new work, Remainder, which looks at the ties between people across geographic and cultural borders.
Throughout history Eurydice has been portrayed as a voiceless cypher next to the vocal brilliance of her husband Orpheus. But does the ENO’s 2019 programme of Gluck, Offenbach and Glass alter this? asks our writer Miriam Al Jamil.
Drawing from real life accounts of young Black men living in Britain today, Joseph Toonga’s Born to Manifest explores issues of identity and Black masculinity, but for our writer Shirley Ahura this is only the beginning of a very important conversation.
In Staging Schiele, Shobana Jeyasingh Dance brilliantly captures the work and life of Austrian artist Egon Schiele, and reframes the stories of his female models.
Serendipity’s BHM Live showcases work by some of the best choreographers from the dance world to date. But these breathtaking performances should be seen every day, all year round, not just during Black History Month, writes Hannah Hutchings-Georgiou.
Russell Maliphant’s latest work, Silent Lines, is an immersive and profoundly powerful exploration of internal and external realities, mind and body, writes Eirini Diamantouli.
Award-winning choreographer Russell Maliphant talks to Eirini Diamantouli about his creative process, collaborating with renowned composer Vangelis and his latest work, Silent Lines, soon to be performed at Sadler’s Wells.
Dada Masilo gives us a Giselle for the twenty-first century; a heroine we identify with and a phenomenal production that makes us feel, writes Hannah Hutchings-Georgiou.
