Skip to main content

Richard Alston for hire: 'Who will let an elderly deaf man loose on their dancers?'

The newly knighted choreographer is shutting his company due to cuts and has snapped his achilles tendon. But he’s full of optimism about the future

I’m expecting Richard Alston to be angry, dejected, or at least a little perturbed. The 70-year-old choreographer recently announced he would be closing his company next year, not out of choice, but because of Arts Council England funding cuts. The company had just celebrated its 25th anniversary, and 50 years of Alston being a choreographer, the quality of work as fine as ever. Alastair Macaulay, former chief dance critic of the New York Times, called it “unequivocally the grimmest news for British dance this century”. It seemed utterly sad, at this stage in Alston’s life and career, for him to have the rug pulled from under his feet.

But Alston is not angry. In fact, there was an element of hara-kiri: Alston was part of the decision. His company’s funding is tied to that of the Place, the dance organisation where he is based, and the ACE stipulated that the money allocated to Alston from the pot should be more than halved, effectively killing the company. “I knew that if I didn’t agree to do this, there was a threat that the Place would not get its funding,” he says. “The issue is that, technically speaking, the Arts Council has no method to fund an older artist.”

Continue reading...

from Culture | The Guardian https://ift.tt/2BVKMFX

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Thirty Years of Adonis film review: sexually explicit gay drama mixes porn and pomposity

1/5 stars The line between soft-core porn and pompous art-house cinema grows ever finer in the seventh feature by writer, director and producer Danny Cheng Wan-cheung, also known as Scud. Intended as a philosophical statement about the meaninglessness of life, Thirty Years of Adonis instead comes across as a badly misjudged piece of sensationalist filmmaking. God’s Own Country review: gay love story set in the Yorkshire countryside The film revolves around aspiring gay actor Adonis Yang... from South China Morning Post - Culture feed https://ift.tt/2qgQkop

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV