The use of the word ‘immersive’ is not only justified but used for more than marketing purposes: Ka Bradley has dinner in the world of Eugène Ionesco.
From ‘anarcho-punk ballet’ onwards: Ka Bradley reviews a double bill from Julie Cunningham and Company.
The atemporality of grief: Ka Bradley reviews Stopgap Dance’s work about the passage of mourning.
The thrill of the possible: Ka Bradley reviews Cul de Sac, Lumo Company and Feet Off the Ground Dance on the final night of Resolution 2017.
Set by set, scene by scene, love by love: Ka Bradley reviews Charleroi Danses’s “transporting and joyously original work.”
What’s your posture like? Ka Bradley reviews Joli Vyann’s work about “a very modern malaise”.
Relationships and identities formed by relativity or intimacy: Ka Bradley reviews a mixed bill of performances as part of Resolution 2017.
Or, The Whale: Ka Bradley reviews James Wilton Dance’s interpretation of Moby Dick.
“I’ve never sat in an audience so delighted to be screamed at and called perverts.” Ka Bradley reviews Gracefool Collective’s show about women laughing with salads.
“I would like to be turned into a psychopathic velociraptor…” Ka Bradley reviews an immersive dance production at Hoxton Hall.
Too much, very much, extremely much: Ka Bradley reviews Yang Liping’s reimagining of a Chinese epic.
“I can say without embarrassment that this piece is beautiful.” Ka Bradley reviews Soft Machine at Sadler’s Wells.
Both military and ethereal: Ka Bradley reviews 6 and 8 by Tao Dance, as part of Sadler’s Wells’ Out of Asia 2 season.
Dance and neuroscience combine in a performance lecture by Matthias Sperling that’s “straight from the retro futureverse”.
Pony piñatas and something far cleverer: Ka Bradley reviews Encounter’s I Heart Catherine Pistachio.