Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Dance Europe, Danza Europa, and many more publications. He regularly writes features for Sadler’s Wells, London Coliseum and La Scala. Chairman of the Dance Section of the Critics’ Circle in the United Kingdom and of the UK National Dance Awards he has interviewed many of the greatest names in dance including Maya Plisetskaya, Vladimir Vasiliev, Boris Eifman, Alexei Ratmansky, Andris Liepa, Sir Peter Wright, David Bintley and Dame Gillian Lynne. When not involved in dance Graham is a keen fencer, and has captained the British Sabre team.
Anna Hop has already become a choreographer of some note, but combines it with a full-time job as a member of Polish National Ballet’s corps de ballet.
This expanded Swan Lake celebrated the return of an exceptional ballerina after a year's lay-off as well as displaying the depth of talent within the company.
Isabela Coracy’s performance as Nina Simone was a perfect opportunity to demonstrate that Ballet Black has a new star and she rose to the challenge with allure.
The integration of an onstage camera shooting live action film is not new, but Jess and Morgs are perfecting the art of adding this extra dimension to live performance.
Every decade or so, The Royal Ballet creates a new work that will endure in its signature collection, and there's little doubt that Woolf Works deserves its place among that elite.
Peaky Blinders turned into dance theatre makes for powerful and spectacular staging, both visually and aurally and is unlikely to inspire an insipid response
