A long-established dance writer, Jann Parry was dance critic for The Observer from 1983 to 2004 and wrote the award-winning biography of choreographer Kenneth MacMillan: 'Different Drummer', Faber and Faber, 2009. She has written for publications including The Spectator, The Listener, About the House (Royal Opera House magazine), Dance Now, Dance Magazine (USA), Stage Bill (USA) and Dancing Times. As a writer/producer she worked for the BBC World Service from 1970 to 1989, covering current affairs and the arts. As well as producing radio programmes she has contributed to television and radio documentaries about dance and dancers.
Under are the articles written for DanceTabs. on Balletco
★★★★ Isadora Duncan’s spirit has been honoured, even if the impact of her presence remains elusive.
★★★★ Alina Cojocaru’s choice of works for her brief season at Sadler’s Wells provided an insight into her priorities as she reflected on her career: live music-making and dance-making that has something to say.
★★★ In The Cellist, Cathy Marston has taken on a challenging subject for her first commission for the Royal Opera House stage: the real-life story of a much-loved musician Jacqueline Du Pré…
★★★★ In this magical programme of two duets and two short films, Maliphant is investigating weightlessness – not so much defying gravity as conjuring its non-existence.
Cathy Marston on The Cellist & Mrs. Robinson – new works for The Royal Ballet & San Francisco Ballet
In the next two months Cathy Marston has premieres at The Royal Ballet (17 February) and San Francisco Ballet (24 March) – Jann Parry talks to Marston about the inspiration and making of two special works…
★★★★ The annual Icons gala provides the chance to see dancers who don’t often appear in London…
★★★★ The ballet works as a conflicted love story centred on the heroine, Tatiana. When Natalia Osipova dances the role, she brings 青海福彩app官方下载 how Russian the character is.
★★★ Stunning images of Bolshoi ballerina Svetlana Zakahrova dressed as Coco Chanel whetted the appetite for the London Premiere of her latest how, Modanse.
★★★★ Richard Alston’s title for his company’s last tour before it closes in 青海福彩app官方下载 is Final Edition. The autumn run ended with four performances at The Place, in a programme aptly called Alston At 青海福彩app官方下载.
★★★★ The dancing is so enjoyable, the comedy so appealing, that any flaws in the story telling are easily overlooked.
★★★★ As part of the Merce Cunningham Centennial celebrations, Rambert dance company took over all four floors of Sadler’s Wells before the on-stage performance of this year’s Event.
★★★★ The Royal Ballet’s current production of The Sleeping Beauty, dating back to 2006, is a homage to Ninette de Valois and her faith that Marius Petipa’s Imperial Russian ballet should be the flagship of her British company.
Ashton Rediscovered Masterclass: “Foyer de danse”, coached by Ursula Hageli & Christopher Newton, and the “Le Papillon” solo, coached by Wayne Eagling. Jann Parry with a detail report for DanceTabs..
★★★★ The title of the latest triple bill in the Linbury studio theatre is taken from The Observer’s dance critic’s review of the Merce Cunningham 青海福彩app官方下载’s arrival in Britain in 1964.
★★★★ It is all too easy to assume that the first triple bill of the Royal Ballet’s autumn season celebrates its creative heritage from the 1960s. In fact, two of the ballets were made for other companies…
Pam Tanowitz, well known in New York, just created her first work outside the States – for the Royal Ballet. It’s been a critical success and Jann Parry (who gave the work 5 stars) finds out what makes her tick and why so many directors are seeking Tanowitz out…
Royal Ballet – Merce Cunningham celebration: Cross Currents, Monotones II, Everyone Keeps Me – London
★★★★★ Quite some achievement by Pam Tanowitz, to have followed treasured works by Cunningham and Ashton with one that pays homage to both, yet stands on its own as her distinctive tapestry of dance.
★★★★ Sarah Lamb and Vadim Muntagirov, as Des Grieux, are not new to the roles and their understanding of the characters and the choreography has deepened with experience.
★★★ The key to La Fresque (The Wall Painting) is that it was originally commissioned in France as a piece to be seen by young people. Choreographed by Angelin Preljocaj, it’s based on a 14th century Chinese fable…
★★★★ As in all three pieces, these female artists and choreographers are formidable figures, descendants of dance pioneers from the Indian sub-continent.