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Judith Mackrell

Jonzi D - review

Back in 2011 when Jonzi D was offered an MBE for services to British dance, the hip-hop choreographer was faced with a profound dilemma.

Royal Ballet: The Nutcracker - review

Royal Opera House, London A judicious blend of magic and realism allows the dancers in Peter Wright's production maximum expressive license There's good reason why The Nutcracker has been subject to so many revisions over past decades. Below its sugar-c

Shobana Jeyasingh - review

Queen Elizabeth Hall, London Shobana Jeyasingh's Strange Blooms marks an ambitious new phase for her with its botany-inspired choreography Back in 1988, the premiere of Shobana Jeyasingh 's Configurations sent feathers flying in the dovecotes of the I

Mark Morris Dance Group: Programme B - review

Morris's idiosyncratic celebration of the nonsense poet Ivor Cutler is a funny, savage and tender masterpiece

Mark Morris Dance Group - review

Mark Morris and his dancers haven't exactly been absent from Britain in the last decade.

Royal Ballet: Romeo and Juliet - review

Royal Opera House, London Natalia Osipova seizes the stage with her electrifying Juliet, while Carlos Acosta is a passionately responsive Romeo When it was announced in April that Natalia Osipova would be joining the Royal, there was a flurry of conce

Stuttgart Ballet: Made in Germany - review

John Cranko's company has long been in the vanguard of new work, but 13 extracts makes for a scrappy experience, saved by some wonderfully articulate and strong dancers

Wim Vandekeybus: Booty Looting - review

In the late 1980s, Wim Vandekeybus was celebrated as a pioneer of raw physical dance, his works an assault course of hurtling, combative moves.

Choreographer Mark Morris: 'I can be very scary'

With the recent deaths of Merce Cunningham and Pina Bausch, dance has been debating the fraught issue of legacy: how to preserve the works of great choreographers without reducing them to museum pieces.

Richard Alston Dance Company/Britten Sinfonia - review

When Richard Alston began choreographing in 1968, his witty, abstract dances were in conscious rebellion against the Martha Graham school of high expressionism that then prevailed.