MARIA DUARTE, JOHN GREEN and ANGUS REID review Power Ballad, Landmarks, My Mother’s Wedding, and Fairyland
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The place to be
The Korean troupe effectively challenge the notion that dancers are physically expert but mere interpreters of other people’s thoughts, writes CHRISTINE LINDEY
PAS DE DEUX: Hyuk Kwon, Jaeyoung Lee in Equilibrium
GORDON PARSONS is disappointed by Kenneth Branagh’s lightweight Prospero in an ambitious rendition of the play
Chris Searle speaks to bassist PAUL ROGERS
MARJ MAYO recommends a well illustrated and very positive account of an extraordinary period in local government history
RITA DI SANTO takes us through the prize winners, and takes the temperature of a festival that prioritised narratives of exile, state violence and class division
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
SIGA
The Place, London
AFTER so many months of Covid-enforced privation, I shared the audience’s palpable pleasure at being back at The Place, London’s deliberately inexpensive centre for international experimental and innovatory modern dance.
Its usual friendly, unpretentious ambience from staff and audience was dominated by the young, some of whom appeared to have arrived fresh from the centre’s dance class or rehearsal.
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