HeyJaredLyndsey Winship
- Indexed articles, last 90 days
- 23
- Latest publication
- Sep 25, 2026
- Outlet visibility, for Guardian UK
- Top 1K sites
- Earliest in this view
- Jul 13, 2026
Latest articles
English National Ballet: Rhythm Riot review â this triple whammy brings zing, grit and chills (opens the original)
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Sadlerâs Wells, LondonA trio of dances taking influence from Stravinsky, tap and William Blakeâs poetry combine with powerful performances exuding showmanship Damn, there was some amazing dance going on in mid-20th century New York. You had George Balanchine forging a new American ballet, all slick speed and striking angles, and in Harlem there was the Cotton Club and the Savoy, swinging dancefloors and entertainers like the legendary Nicholas Brothers, of whom Balanchine was a fan. Thereâ
âThis gap opens up of doubt and scepticism about everythingâ: Jess and Morgs confront the politics of deepfakes (opens the original)
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In the choreographersâ new work, virtuosic movement and some green-screen magic unfurl the theatricality of high-stakes television interviews It appears the interviewer has got him on the ropes. âFor the record, I did not take part in a pagan ceremony with minor members of the royal family in which we daubed ourselves in paint,â states the beleaguered politician, caught outside Buckingham Palace with his flies undone and forced to defend himself. This is a fabrication, of course â Iâm
She was the Royal Balletâs first âyoung choreographerâ â Charlotte Edmondsâ next 10 years show how dance is changing (opens the original)
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As a teenager, Edmonds had a three-year residency at the Royal Opera House. Her eclectic career â creating NFTs, adverts and films as well as for the stage â reveals a precarious industry moving in new directions At the age of 18, Charlotte Edmonds was such a promising choreographer (âastonishingâ, in the words of the Observer) that the Royal Ballet invented a whole new job for her. As the companyâs âyoung choreographerâ, she spent three years learning everything she could at one o
Kimberly Akimbo review â hilarious musical about a sexagenarian teen is one for the ages (opens the original)
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Hampstead theatre, London Maria Friedman plays a 15-year-old with a rare ageing condition in a heartfelt and funny show that manages to sustain its sweetness Itâs a bizarre concept for a musical: a girl with a rare condition that causes her to age four times faster than her peers, in a family so dysfunctional that sheâs the normal one. Meanwhile, the musical highlights are songs about cheque fraud and scurvy. And yet, somehow, through all this artifice and elaborate setup comes a show so sin
Richard Alstonâs dance illuminated the music, let you delight in the moment â and stole my heart (opens the original)
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The radical British choreographer, who has died aged 77, was as warm and graceful as his astonishing body of work The first contemporary dance I really loved was made by Richard Alston. In the 1990s, I was going to dance class a few times a week and watching the smattering of companies that would tour to Newcastle, where I grew up. There was dance that was pretty or provocative or intellectually stimulating, which I enjoyed or appreciated, but the dance that really had my heart was by Alston, wh
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