Carlos Acosta
Uninventive and far too polite: BRB’s Black Sabbath – The Ballet reviewed
Not being an aficionado of the heavy-metal genre, I snootily suspected that I would rather be standing in the rain…
A vanity exercise: Carlos at 50, at the Royal Opera House, reviewed
In 2015 Carlos Acosta announced his retirement from the Royal Ballet and the classical repertory. It seemed like the right…
Tranquil, silky and serene: Birmingham Royal Ballet’s Lazuli Sky reviewed
When Carlos Acosta was named artistic director of Birmingham Royal Ballet in January of this year, he announced ambitious plans…
Forget the Don – come for the Mataphwoar Ryoichi Hirano: Royal Ballet’s Don Quixote reviewed
The trouble with Don Quixote is Don Quixote. Whenever the doddering, delusional Don is onstage, tilting at windmills, riding his…
Pretty vacant
Alice is at it again. Christopher Wheeldon’s 2011 three-act ballet began another sell-out run at Covent Garden last week. It’s…
We’re entering a new era for dance - expect big ballets with big stories
Dance has its own archaeological periods, and 2016’s schedules are confirming what 2015 indicated — that the era of dances…
Carlos Acosta’s incoherent Carmen is a disaster
The love that asks no questions, the love that pays the price… The amount of unconditional love sloshing about at…
Sylvie Guillem’s better than ever in her final, final Coliseum farewell
The blackness that sweeps along the stage behind Sylvie Guillem’s disappearing figure in the Russell Maliphant piece on her farewell…
Birmingham Royal Ballet review: A Father Ted Carmina Burana
We ballet-goers may be the most self-deceiving audiences in theatre. Put a ‘new work’ in front of us and half…
Bach is made for dancing
It appears that J.S. Bach’s music is to theatre-dance what whipped cream is to chocolate. Masterworks such as Trisha Brown’s…
Carlos Acosta’s Don Quixote lacks the wow factor
Superstar Carlos Acosta makes little or no reference to Don Quixote’s established history in his programme note about the genesis…
