Massacre + Memento Mori
GERARD DAVIS considers new works by Jeroen Verbruggen and Sidi Larbi Cherkaoui in Monaco

After watching the premiere of Jeroen Verbruggen’s Massâcre, I came to the conclusion that every ballet should have demented beige priestesses in it. They formed just one, very short, part of the strange menagerie of creatures that inhabited the work, but, for some reason, their image really stuck in the mind. Something to do with the blacked-out mouths and the jiggedy-jaggedy pointe work probably, but they were unforgettably creepy. The whole piece was truly startling. Set to The Bad Plus’s crazy-ass jazz arrangement of Stravinsky’s The Rite of Spring, Massâcre is a virtually unfathomable barrage of dog-eat-dog wildness... Read Gerard Davis' review in the October  issue. 

Les Ballets de Monte Carlo - Taisha Barton-Rowledge, Markéta Pospíšilová and Alexis Oliveira in Jeroen Verbruggen's Massâcre. Photo: Alice Blangero 

Frank Andersen

AMANDA JENNINGS sits in on a rehearsal for La Sylphide at English National Ballet

AJ There are many mime scenes in ballet where someone makes a statement, but this is actually a conversation…
FA Yes. Eva and I have taken out nearly all the tendus. When you talk, you’re not standing on one leg, you naturally stand on two legs. And we always say it’s one-two-three: you don’t just suddenly yell, “Hi Amanda,” when you meet someone, you take a moment to realise it’s them, and you break gradually into a smile and the greeting. The audience has to understand what we’re doing and saying. So you have to register, and also with the eyes - “You want to go with me and have a beer?” it’s a question, so at the end you widen your eyes to register the question.... Read Amanda Jennings' interview in the October issue. 

English National Ballet - Frank Andersen taking a rehearsal for La Sylphide. Photo: Laurent Liotardo