Solo For Two, London Coliseum, review: 'thrilling'

Natalia Osipova and Ivan Vasiliev's creative gifts were set free in this daring programme, writes Sarah Crompton

Solo for Two, Coliseum, London

And a solo star, alas, for Natalia Osipova and Ivan Vasiliev, whose considerable talents as dancers are ill served by this triple bill

Solo for Two, Coliseum, London

Coliseum, London: Since leaving the Bolshoi Ballet, the partnership of Osipova and Vasiliev may have sundered with him going to Mikhailovsky Ballet in St Petersburg and she to our own Royal Ballet. But like ex-lovers who return for one last fling, they sc

Solo for Two review Vasiliev and Osipova cast a spell in contemporary works

Coliseum, LondonA challenging programme by Sidi Larbi Cherkaoui, Ohad Naharin and Arthur Pita sees the Bolshoi dancers on superb formThe last time Natalia Osipova and Ivan Vasiliev appeared on the Coliseum stage together they were receiving standing ovati

Solo for Two, Osipova/Vasiliev, London Coliseum

Mounting a contemporary dance show together doesn’t seem like the best way to get over your ex, even if you are (or rather, were) ballet’s most fabulously marketable couple. But whatever their real-life relationship, audiences will always be keen –

Arthur Pita – Nobody’s Baby, The World’s Greatest Show – London

Arthur Pita’s Nobody’s Baby, The World’s Greatest Show.© Roy Tan. (Click image for larger version) Arthur Pita Nobody’s Baby – The World’s Greatest Show London, Royal Opera House, Floral Hall 27 July 2014 This was the

Nobody's Baby, Paul Hamlyn Hall, review: 'superb'

What Arthur Pita's Nobody's Baby occasionally lacks in coherence it makes up for in passion and grip, says Laura Thompson

Nobody's Baby review Arthur Pita's evocative dance fantasy

Royal Opera House, LondonDepression-era dance marathons provide the backdrop for this gruellingly long, and brilliantly inventive, pieceDuring the second world war, Covent Garden's Royal Opera House was converted to a dance hall, offering Londoners a refu

The Importance of Being Earnest, Harold Pinter Theatre, London

Stage veterans become young lovers in this version of Wilde’s comedy, which has an am-dram framing story by Simon Brett to close the plausibility gap

The Art of Dying, Royal Court, review: Nick Payne delivers moving meditation on death

Nick Payne's 45-minute monologue, which he performs himself, builds into a moving meditation on how we could better help the dying to die.