Matthew Paluch - Page 4

Autumn at The Place continues with a double bill featuring the Prague-based Pocketart Collective with The Lion’s Den and Louise Orwin's Famehungry.

Foley artists don’t often get moments to shine - step forward Athens based dancer and choreographer Ioanna Paraskevopoulou with her work MOS presented by Dance Umbrella.

Song of Songs premiered in 2022 and now has its London opening at the Barbican Centre. The work sees American dance maker Pam Tanowitz collaborate with Pulitzer prize-winning composer David Lang.

Kenneth MacMillan was renowned for being a major film buff, so we can assume he’d revel in his 1988 work Sea of Troubles being transferred to the big screen

Dance Umbrella present their international double-bill Change Tempo with SU PinWen and Alexandre Fandard. 

A mega night at the theatre.

Everyone loves a thinker, and Akshay Sharma definitely seems to be one. He presented his rigorous, 2023 solo Can This Place be a Temple? at The Place 3 October for one night only.

Stephanie Mohr’s new production of Charlotte Perkins Gilman’s feminist novella The Yellow Wallpaper is described as a “genre-defying production blending theatre, dance, live video and sound” - no pressure then!

Claid herself is many things: “choreographer, writer, director and teacher” - and so is the nature of the piece.

Ambiguous present the UK premiere of Rhythm of Human, choreographed by Kim at The Coronet Theatre. The work looks at the present day Korean man wrestling with societal expectations, and the Ambiguous blurb proposes “undefinable” content in order to communicate the narrative agenda through Kim's 'distinct musical interpretation.'

The Revenge of Popperface by Gareth Chambers invites the audience to muse over 'an experimental exploration of masculinity' through the occult and opera no less.

What did our critic think of RESURGAM at St Paul's Cathedral?

All good things come to an end, and to signify the culmination of their week-long residency at the Royal Opera House, The Australian Ballet offered a suitably wonderful Celebration Gala acknowledging their 60th anniversary.

London welcomes The Australian Ballet to the Royal Opera House after 35 years, to celebrate their 60th anniversary, with six performances in total.

How do mere mortals celebrate their 50th birthday? By having a midlife crisis? Not dance royalty Carlos Acosta, who seems to literally turn back time by making a return to the stage as a dancer - having retired from performing in 2016 - in Carlos at 50 at the Royal Opera House (with five, basically sold out performances), his old stomping ground.

Mercedes de Córdoba's work Sí, quiero (meaning ‘yes, I want’) looks at a group of women creating their own wedding ceremony. And as such occasions normally unfold, we’re promised “peace and passion, hope and madness”. 

Let's talk stereotypes for a moment. Joaquin Cortes definitely changed any fixed narratives about flamenco when he entered the global stage circa 1995, but the general consensus would still be ‘woman in frilly red dress’ I imagine.

Sadler’s Wells' Flamenco Festival really is a festival. As in the programme includes a wide range of approaches and possibilities when dealing with the genre. It makes the relevance of flamenco in 2023 something to ponder - as there's clearly an interest, and different generations of creatives very much involved with the ongoing dialogue. 

The Company of Elders' Saturday matinee performance at Sadler's Wells finished with a nightclub atmosphere. It saw the cast of the last piece coming into the auditorium and inviting the audience members onto the stage to dance the afternoon away. 

Interdisciplinary is a bittersweet word/theory, and when I come across it, I'm equally filled with both anticipation and foreboding. The former as when it works it's hard to beat, the latter as when it doesn't, the night can be an awkward one. And in this spirit, I'm afraid Saving Face by Si Rawlinson is an adventurous, multifaceted piece that hasn't quite found its feet.