Rambert Dance Company - The Labyrinth of Love

Whatsonstage.com“The skill of [Rambert's] dancers can never be underestimated...” [Donlon's is] a most engaging piece on all levels, in particular the effective use of the raised area and the rhythmic work which punctuates the score creates a thought provoking and engaging piece...

Financial Times“Began with an eagerly depressing novelty...” Thereafter, fine things. Paul Taylor’s Roses is about love requited, beautifully and simply shown. The Siegfried Idyll is his music, and a touching clarinet adagio, and dance for six couples blossoms from the stage in entire happiness...

Evening Standard“Occasionally it all feels a tad too tasteful...” It’s the dance equivalent of shopping at John Lewis. It’s actually the oldest piece on the bill that’s the most radical, Merce Cunningham’s Sounddance from 1975. Less like a performance, more like watching amoeba under a microscope...

The Arts Desk“Their brand-new creation by Donlon may have looked good on paper...” It is Merce Cunningham and Paul Taylor who shine brightest and freshest and the new piece that looks stale...

The Stage“Donlon’s choreography is a wash of formulaic limb twisting...” Danced to a menagerie of squeaking, scraping, skin-crawling noise (David Tudor’s electronic score), Sounddance is the most reverberant and vibrant of the programme...

The Telegraph“The last dance, by Marguerite Donlon, is in fact the only disappointment...” This new, 140-minute, four-piece bill embraces serenely romantic lyricism, balletic surrealism, animalistic athleticism , and, at the very start, a brand-new whistlestop tour through human emotions, Labyrinth of Love...

Guardian“Donlon's choreography feels smartly crafted but disconnected...” The work that steals the show, however, turns out to be one that was created 37 years ago. Like all of his greatest choreography, Merce Cunningham's Sounddance has the power to suspend its viewers in a preternaturally charged present tense...