Kim Brandstrup
awards and nominations
awards and nominations
Goldberg - The Brandstrup-Rojo Project - 2010
Olivier Award for Best New Dance Production
Nomination for the Critics’ Circle award for Best Classical Choreography
Two Footnotes To Ashton - 2005
Nomination for the Critics’ Circle award for Best Classical Choreography
Elegy - 2001
Nomination for TMA Best Dance Production
Saints and Shadows - 1995
Nomination for the Olivier Award for Best New Dance Production
Othello - 1994
Evening Standard Award for Best New Dance Production
Orfeo - 1989
Olivier award for Most Outstanding Achievement in Dance
awards and nominations Projects
Goldberg
ROH2
Royal Opera House, September 2009
“an ingeniously organised, frequently humorous, gently enigmatic and wholly luminous hour and a quarter – a mini-masterpiece, in short.”
Jenny Gilbert, Independent on Sunday *****
Two Footnotes to Ashton
Royal Ballet
Linbury Theatre, Royal Opera House, London , June 16 2005
“Kim Brandstrup’s playful pas de deux (danced to a Gluck aria) was the unrivalled hit of the evening….It was an instant classic, the kind of work you want to see again immediately. Whatever happened to encores?”
Louise Levene, The Sunday Telegraph
Elegy
Arc Dance Company/ Dance Umbrella
New Victoria Theatre, Woking , April 2001
"Its choreography actually combines a very Dostoyevskian intensity with the vividly specific physical personalities of its three superb dancers. The result, though spare, is engrossingly dramatic." “[Kim Brandstrup’s] best work to date for the British stage”
Judith Mackrell, The Guardian
Saints and Shadows
Arc Dance Company
Tivoli Concert Hall, Copenhagen, August 1994
“Kim Brandstrup has a distinctive theatricality, a gift for creating and sustaining atmosphere so that every frame in his work glows with style. He can make magic and mystery too, as he does in his newest piece Saints and Shadows”
The Stage
Othello
Arc Dance Company/Irek Mukhamedov
Sadler's Wells, Feburary 1994
"Given Brandstrup’s confident and impassioned choreographic style with its strongly dramatic basis and cinematic fluency, Mukhamedov had no need to adapt his classical training. His part was brilliantly tailored to suit the vigorous and virtuoso Bolshoi technique "
Katherine Sorley Walker, Daily Telegraph
