Photo by Karolina Kuras, Courtesy English National Ballet
In the six years since taking over as artistic director at English National Ballet, Tamara Rojo, 44, has been lauded for revitalizing the company. She has presented classics danced with gusto alongside contemporary commissions, including a radical reworking of Giselle by contemporary/kathak choreographer Akram Khan, setting the story in a community of migrant factory workers. ENB brings Khan's Giselle to Chicago's Harris Theater, Feb. 28–March 2, the company's first trip to the U.S. in 30 years.
Precious Adams is not cast as Odette/Odile, but is the face of ENB's marketing campaign. Screenshot via English National Ballet's website
Fans of the sublime English National Ballet first artist Precious Adams were probably excited to see her image splashed across the company's website in a promotional image for an upcoming production of Swan Lake.
But those who took a closer look were met with a disappointing reality: Adams, who is the only black woman in the company, is not listed on the principal casting sheet for the production.
Xenos, Akram Khan's final full-length solo, is an ode to the soldiers of World War I. Photo by Nicol Vizioli, Courtesy Sadler's Wells
We might have gotten a little bit carried away with this year's "Season Preview"—but with the 2018–19 season packing so many buzzy shows, how could we not? Here are over two dozen tours, premieres and revivals that have us drooling.
Chase Johnsey quietly made modern ballet history when he performed as part of the women's ensemble in English National Ballet's The Sleeping Beauty. Photo by Elliot Franks, Courtesy In the Lights PR
Back in January, Chase Johnsey grabbed headlines when he resigned from Les Ballets Trockadero de Monte Carlo, where his performances had garnered critical acclaimfor over a decade, alleging a culture of harassment and discrimination. (An independent investigation launched by the company did not substantiate any legal claims.) Johnsey, who identifies as genderqueer, later told us that he feared his dance career was at an end—where else, as a ballet dancer, would he be allowed to perform traditionally female roles?
But the story didn't end there. After a surprise offer from Tamara Rojo, artistic director of English National Ballet, Johnsey has found a temporary artistic home with the company, joining as a guest at the rank of first artist for its run of The Sleeping Beauty, which continues this week. After weeks of working and rehearsing with the company, last week Johnsey quietly marked a new milestone: He performed with ENB's corps de ballet as one of the ladies in the prince's court.
British ballet fans have been in a tizzy over Tamara Rojo lately.
Last month, a number of current and former English National Ballet dancers made anonymous claims of mismanagement to The Times, blaming Rojo for the fact that a third of the company's dancers have left over the past two years. The blog Ballet Position followed up earlier this month with further accusations, and Rojo responded in a feature in the Evening Standardyesterday.
Until this all came out, Rojo had really only been covered in recent press as someone who'd transformed ENB into a darling of the ballet world with her forward-thinking repertoire.
Tsai-Wei Tien in Bausch's Rite of Spring. Photo by Alexandra Campeau, courtesy Tanztheater Wuppertal
In a sheer red slip—dirt-covered and exposed—the Chosen One frantically pleads with the community encircling her, wildly dancing until she at last succumbs to an inevitable death. Part of Pina Bausch's haunting Rite of Spring, this solo is one of the most vulnerable in dance.
"When I perform this role, there is no acting, my struggle is very real—it becomes very spiritual," says Tanztheater Wuppertal dancer Tsai-Wei Tien. "I squeeze everything I have into those final moments."
A truly unguarded performance electrifies the stage and connects deeply with the audience, in a way that surpasses even the most flawless technical prowess.
This fall, English National Ballet wunderkind Cesar Corrales graced the cover of our sister publication, Pointe, and spoke about searching for new ways to grow at ENB. Yet today ENB announced that after three years with the company, Corrales has decided to leave to join The Royal Ballet as a first soloist.
Corrales rose swiftly through the ranks at ENB; he was promoted to principal this past summer at just 20 years old. He was best known for his highly charismatic performances which inflected roles such as Ali in Le Corsaire, Mercutio in Romeo & Julietand Hilarion in Akram Khan's 2016 re-imagining of Giselle.
Corrales as Ali in Le Corsaire. Photo by Laurent Liotardo, Courtesy ENB
There are many ways in which to be a great dancer, but there's no denying that precocious virtuosity is often the most eye-catching. For Cesar Corrales, his fail-safe talent for effortlessly explosive jumps, plus pirouettes that could seemingly spin for infinity (but which stop at exactly the moment of his command), have marked out the 21-year-old as one of the most exciting young dancers performing in the UK.
Pina Bausch's The Rite of Spring. Photo by Oliver Look, Courtesy Brooklyn Academy of Music.
On the cusp of a new performance season, our calendars are chock full with shows we're dying to see. But it can be hard to know where to start with a season filled to bursting with promising premieres, tours and revivals. We've picked 12 shows that should definitely be on your radar.
When English National Ballet dancers are given free reign of London's iconic Victoria & Albert Museum, magic happens. At least it does in "Space for Everyone," a new video featuring Connie Vowles and William Beagley with original music by Overmono.
Kidd Pivot in Crystal Pite and Jonathon Young's Betroffenheit. Photo by Michael Slobodian, Courtesy Sadler's Wells.
The Olivier Awards were this weekend, and (though you might not have noticed with all of the hubbub over Harry Potter and the Cursed Child practically sweeping) three of our dance world faves snagged well-deserved awards for some very diverse programming.