A new book, Cranko. The Man and his Choreography by Ashley Killar is due to be released in London next month. Killar, who danced extensively with Stuttgart Ballet when John Cranko was the company’s artistic director, presents a detailed and extensively researched analysis of the life and career of Cranko, going right back to his childhood in South Africa. The
While in New Zealand to see Royal New Zealand Ballet’s Cinderella, I had the pleasure of engaging in an extended conversation with choreographer Loughlan Prior. Not unexpectedly, much of the conversation focused on his production of Cinderella, a production dense with allusions of various kinds. One aspect of the production that intrigued me was the references to Swan Lake that
10 August 2022. Kiri Te Kanawa Theatre, Auckland Choreographer Loughlan Prior was born and educated in Australia before moving to New Zealand for further dance training. He is now a dual citizen of those countries and his latest work for Royal New Zealand Ballet, where he has been choreographer in residence since 2018, is a production of Cinderella. But it
Book review by Jennifer Shennan This impressive book contains close to 200 photographs, culled from some 3000, taken by Neville Waisbrod, tango dancer-turned-photographer of Wellington. Evident throughout is Waisbrod’s deep feeling and respect for the dance form in milonguero style. This is not tango for display or spectacle, for competition or ambition, for innovation or experiment, for the money or
30 July 2022. Talbot Theatre, Thomas Dixon Centre, Brisbane Bespoke for 2022 comprised Tethered by Petros Treklis, Biography by Stephanie Lake and A Rhapsody in Time by Greg Horsman. All three had lighting by Cameron Goerg and costumes by Zoe Griffiths. Choreographically it was a highly diverse program and continues Queensland Ballet’s annual, and admirable, program of promoting new choreography.
Liz Lea heads to Edinburgh Canberra stalwart Liz Lea is taking her much acclaimed show, RED, to the Edinburgh Fringe Festival next month. It opens on 16 August at Dance Base and is being promoted in Edinburgh in the following terms: Red is fearless, Red is fierce, Red is powerful—a one-woman dance theatre work with a hint of fun and
22 July 2022, Erindale Theatre, Canberra ‘Two households both alike in dignity …’ So goes the opening line of Shakespeare’s Romeo and Juliet, referring as it does to the Montagues and the Capulets, two families whose life, and their longstanding feud with each other, unfold in the play. There’s not much dignity, however, between the Montagues and the Capulets as
by Jennifer Shennan Harry Haythorne (Artistic Director of Royal New Zealand Ballet 1981—1992) was always an enthusiastic admirer of Gray Veredon’s choreography. In 1981, the effervescent Ragtime Dance Company, to Scott Joplin, had set the stage sizzling and gave Jon Trimmer one of his favourite roles. In 1988 Harry commissioned Tell Me A Tale, which wove elements of 19th century Pakeha
Lauren Honcope I was sorry to miss a recent farewell event for Lauren Honcope, who retired last year, 2021, as President of Ausdance ACT. Honcope joined the Ausdance ACT board in 2009 and became president in 2011. In addition to her tireless work for Ausdance, including seeing the organisation through some difficult times as far as funding was concerned, Honcope
24 June 2022, online screening Ahead of any further remarks, I have to make it quite clear that basically I am a fan of the work of Alexei Ratmansky. I have been writing about his productions on this website since 2009. Here is a link to the Ratmansky tag. His interest in creating new versions of well-known works has been