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July 18, 2014 5:38 pm
Restless Creature, Linbury Theatre, London
That fine New York City Ballet dancer Wendy Whelan returns to London for five performances. She offers us four duets made by, and danced with, four young American choreographers. Their work is largely unknown; the communicative power and subtlety of her performances have been a light in the dance world for the past two decades.
roh.org.uk , 0207 304 4000
. . .
Coppélia, Coliseum, London
I do not understand the attitudes of most ballet companies today towards Coppélia. This joyous masterpiece boasts, in its Delibes score, some of the finest music made for dancing, a narrative both sunny and wise, a noble tradition of dances of irresistible verve and distinction.
Yet major troupes ignore it – the Royal Ballet boasts a fine staging and artists who have given it happiest life but keeps it hidden, preferring the predictable or the vexing – it. In this production for English National Ballet, made by Ronald Hynd (who knows whereof he stages), we see a delightful version. It is not, though, a ballet for immature dancers in its leading roles – it demands elegance and wit – but is a joyous work for an ensemble and for an audience. ENB plays Coppélia from Wednesday until next Sunday’s matinee.
ballet.org.uk, 020 7304 4000
. . .
Cubanía, Royal Opera House, London
Carlos Acosta brings a production to the Opera House’s main stage that celebrates his homeland for three evenings (from Monday to Wednesday). And I need hardly add that, from Monday July 28, this venue hosts a three-week season by the Mariinsky Ballet from St Petersburg. Many splendours – owed, as ever, to the skill and grace of these superlative artists, and to the enterprise and wisdom of Victor and Lilian Hochhauser. Much gratitude.
roh.org.uk, 020 7304 4000
Photograph: Christopher Duggan
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