The Barbican - March 2017
THE BARBICAN’s line up for March 2017 includes:
Ballet Black – Triple Bill – in the Barbican Theatre from March 2 to March 4.
Ballet Black’s first programme at the Barbican was presented in spring 2016. In her second mixed bill at the venue, Artistic Director Cassa Pancho commissions bold choreography once more, blending the classical and contemporary, narrative and abstract, for her ballet company comprising international dancers of black and Asian descent.
A new ballet by Annabelle Lopez Ochoa (co-commissioned by the Barbican with dramaturgy by Patricia Doyle), turns a popular fairy tale on its head giving Red Riding Hood a surprising twist!
Celebrated British choreographer Michael Corder, whose glittering versions of Cinderella and The Snow Queen have been seen across Europe, creates an abstract piece, House of Dreams: a sparkling new quartet exploring themes of love and loss, set to the delicate music of Claude Debussy with costume designs from Ballet Black’s long-term collaborator, Yukiko Tsukamoto.
And a four-hander characterised by intricate detail and propulsive energy, Captured ebbs and flows to the fiery emotion of Martin Lawrance’s edgy choreography, set to a Shostakovich string quartet.
Julie Cunningham and Company – Double Bill – in The Pit from March 8 to March 11.
Julie Cunningham, whose performances with Michael Clark Company have won her a Critics’ Circle Award, presents a rare combination of dance and spoken word, part of her expressive double bill about gender and identity.
Inspiring one half of this presentation is the mythical character Tiresias, who the gods turn from male to female for seven years. Returned to his original form, he loses his eyes but is given the power of insight, living the rest of his life as the blind prophet.
With a narrative quality, To Be Me features four dancers, including Cunningham, who choreographs her piece to Kate Tempest’s rhythmic, hip-hop influenced reworking of the ancient Greek myth, the lyrical recording taken from the poetry collection Hold Your Own. Reflecting similar themes and including tracks by Anohni (Antony and the Johnsons), Returning offers a contrast in approach from the emerging choreographer as she develops her own new work, a continuation of her celebrated dance career.
Toneelgroep Amsterdam – Roman Tragedies based on William Shakespeare – in the Barbican Theatre from March 17 to March 19.
Coriolanus, Julius Caesar and Antony and Cleopatra unfold to form one tautly edited, flowing performance that uses multiple screens to relay non-stop media coverage. Power, passion, ambition and national interests – this is the political game revealed in all its facets – with video close-ups amplifying the onstage drama.
Roman Tragedies turns audience members into citizens, inviting them to move freely around the stage, have refreshments, view the protagonists from different perspectives and share their experience on social media platforms. First seen at the Barbican in 2009, the six-hour show combines brilliant ensemble acting, running from the cerebral to the raw, with astonishing stagecraft and an electric sense of immediacy.
Roman Tragedies is performed in Dutch with English surtitles.
For more informtion or to book tickets, call the box office on 0845 120 7511 or visit www.barbican.org.uk/.