Matt Trueman asks if events such as #HOFEST, a three-week festival of work by one choreographer across London, could be a blueprint for theatre – showcasing playwrights, actors and directors.
In the recent weeks, I've seen more of Hofesh Shechter than I have my own family. The Israeli choreographer, an artist with a cult following, has just produced a three-week festival of work, #HOFEST, across a number of venues in London – a really interesting model and one theatre might do well to borrow.
Having never seen Shechter's work before, #HOFEST was a crash course in the choreographer. A Shechter lecture, if you like: four shows running almost concurrently.
The Royal Opera House hosted his first opera, a new staging of Christoph Gluck's Orphee and Eurydice, with a chorus of dancers tumbling over the stage during orchestral sections. At Sadler's Wells, there was contemporary dance proper: a remount of his wilfully gauche, gleefully self-indulgent triptych Barbarians... Keep reading on What'sOnStage
In the recent weeks, I've seen more of Hofesh Shechter than I have my own family. The Israeli choreographer, an artist with a cult following, has just produced a three-week festival of work, #HOFEST, across a number of venues in London – a really interesting model and one theatre might do well to borrow.
Having never seen Shechter's work before, #HOFEST was a crash course in the choreographer. A Shechter lecture, if you like: four shows running almost concurrently.
The Royal Opera House hosted his first opera, a new staging of Christoph Gluck's Orphee and Eurydice, with a chorus of dancers tumbling over the stage during orchestral sections. At Sadler's Wells, there was contemporary dance proper: a remount of his wilfully gauche, gleefully self-indulgent triptych Barbarians... Keep reading on What'sOnStage