The triple bill is a triumph for the English National Ballet, for Tamara Rojo, and of course for Sadler’s Wells. It is for evenings such as this that one sits through all the others.
Three decades after the miners’ strike of 1984, families in northern England are riven because relatives crossed the picket line.
Overlooked for centuries, her paintings were often wrongly attributed to her father, Orazio Gentileschi. In the same period her work sank to a level of obscurity equal to that one of her greatest influences, Caravaggio. His reputation was restored in the 1920’s. Artemisia Gentileschi had to wait a little longer.
Posterity remembers Emma Hamilton as the mistress of Nelson. The reality is her achievements in the society salon were in their way as brave and out of the ordinary as his naval exploits.
James Roderick Burns finds Geraldine Paine’s new narrative collection to be a timely reminder of traditional poetic virtues
Nick Cooke finds that Angela Readman’s new collection lives up to the description given on the book jacket
There were three pieces to the evening but the climax that everyone was waiting for was Narcissus & Echo. This is comeback-kid Sergei Polunin’s own world première, choreographed, conceived and starred in by the bad lad himself.
Wendy Klein finds Ruth Sharman’s poetry collection hard to put down
Roger Caldwell reviews Ian Gordon‘s recent biography of the poet Anne Stevenson
The gig is billed as Wayne McGregor’s but the evening belongs to one of the biggest names in the contemporary art world, Olafur Eliasson, and to musician Jamie XX. That said, it is McGregor’s gifts as a director and as a charismatic strategist that made this impressive show happen in the first place. Sadler’s Wells has brought to London an outstanding collaboration of choreographer, artist and musician.
Pam Thompson finds that Charlotte Gann’s first full collection succeeds in its aim of unsettling the reader.
Richie McCaffery takes the opportunity to extend his appreciation of Richard Kell’s poetry.