Debra Craine reviews the Royal Ballet's revival of Antony Tudor's Shadowplay and the premiere of Michael Corder's latest creation. This link is worth checking out as there is a stunning image of Acosta and Rojo. Regarding the Tudor, Craine tells us:<BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Carlos Acosta, inheriting the Dowell role at Saturday's first performance, has reined in his natural tendency for extrovert<BR>display - Tudor didn't want his ballet to be "played" to an<BR>audience. Acosta moves with a deliberate concentration as he<BR>searches for clarity in this mixed-up world. His slowly-rising<BR>arabesques are gorgeously delivered, and he earnestly tries to<BR>match form to content in his dancing. But he can't yet make sense of what he's doing, and without a central performance of utter conviction this ballet really doesn't work. <BR>Tamara Rojo, as the Celestial goddess, offers the ultimate distraction, softly seducing the Boy with her voluptuously extended limbs, while Nigel Burley's Terrestrial is impressively imposing and compelling. <HR></BLOCKQUOTE> <BR><A HREF="http://www.thetimes.co.uk/article/0,,26815,00.html" TARGET=_blank><B> now read on</B></A><P>Judith Mackrell also reviews the Shadowplay bill. Of the new Michael Corder work, she says:<BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>If Tudor's Shadowplay embodies the confident eccentricity of a mature artist, Michael Corder's new ballet, Dance Variations, seems the work of a man playing desperately safe. Set to Richard Rodney Bennett's deft but unmemorable score, Corder's choreography puts its dancers through their classroom paces expertly, but without ever surprising us or them.<HR></BLOCKQUOTE><BR><A HREF="http://www.guardianunlimited.co.uk/reviews/story/0,3604,389847,00.html" TARGET=_blank><B> now read on</B></A><P>Finally, here is <A HREF="http://www.independent.co.uk/enjoyment/Theatre/Dance/Reviews/2000-10/dance301000.shtml" TARGET=_blank><B> Nadine Meisner's review.</B></A><P>
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