"Isadora" in its sleeker, more focused one-act mixed-media form is a compelling piece of dance biography. Weaving film footage, voice-over readings of Isadora's own words, and dance, it takes the audience through Isadora's life, somewhat abruptly terminating it - but then: that is what indeed happened - with the flowing scarf and the spoked-wheel sports car.
One can imagine a time when Isadora Duncan's life was the quintessence of scandal. Nowadays her kind of private life is a commonplace, and with cosmopolitans anyway does not cause a ripple: it is the self-regarding, hyperbolic, prancing egocentrism of her artistic pretensions that strikes a discordant note, and watching the superb Tamara Rojo perform those free-style "expressive movements" that Isadora made up as she went along, one is struck by this thought: that Tamara Rojo does infinitely better what Isadora Duncan was trying to do, so that we who come after the latter's time are the gainers by far.
      Tamara Rojo is a dancer whose wonderful technique coupled with genuine artistic sensitivity make her riveting to gaze upon, no matter what she is doing. Isadora Duncan, if her scarf were still fluttering in celestial airs somewhere, would surely gaze with envy at this surpassing representation of her efforts. But whatever Isadora was trying to do, it is not enough for a true dancer of talent: there is something limiting in the bare-footed scampering and posturing and sprawling and flinging herself about that was Isadora's self-taught, self-shaped manner. She reminds one of an eight year old girl imitating ballet and making it up before a captive audience of parents, leaping around a drawing-room after tea. Therefore to have Tamara Rojo, a sublime bright flame of balleticism, reprising the Isadora Duncan manner, is to do Isadora Duncan far more than justice.
      At the same time, one has as always to take off one's hat to Kenneth Macmillan, whose evocation of the Duncan manner shows what an extraordinary eye he had for plastic motion in space: he saw what Isadora was doing and trying to do, even from the flickering records of her performances: and has created something that is better than what he saw.

Dances at a Gathering
The irrepressible Jerome Robbins, master of so many different choreographic vocabularies, who could move from the battle of the Sharks and Jets in West Side Story to the different and abstractly classical kind of delight represented by "Dances at a Gathering", is by virtue of this latter the creator of one of the most pleasing hours ever on offer in a ballet theatre. "Dances" is witty, cheerful, often beautiful, always eloquent and mobile, giving the dancers wonderful opportunities to enjoy themselves, display their talents, play to the audience's sense of humour, and tell little unscripted stories that belie Robbins' own emphatic claim that "Dances" tells no tales but is just simply and purely dance.
      Look at the cast list for this performance: what an array of first class ability. All the dancers were in excellent spirits, and performed accordingly: it was pure pleasure from the first step to the last, when finally all members of the interweaving, flowing, bright symphony of movement come together for the surprising stillness and thoughtfulness of the closing moments.
      From so fine a set of dancers - Cuthbertson, Morera, Benjamin, Raine, Kobborg, Watson, Stepanek, Polunin, all of them performing with gusto and high talent - it is invidious to single any out, but one might be allowed mention of personal favourites: so, Jose Martin always stands out for me, a dancer of finely centered strength, neat and accurate, full of darting personality and fire, a marvel in character roles. And a ballerina who also stands out for me because of the sheer beauty of her line, her poise, her precision, her instinctual aestheticism, her refinement and elegance, is Yuhui Choe, a graceful and enchanting presence on stage, the embodiment of ballet: a truly special talent. As Pink in this production she fastened one's gaze utterly, no easy thing to do in a constellation of dancers such as she was among, and yet achieving it.
AC Grayling