Tim Rushton

Tim Rushton was opening the tiny dance stage at Copen­hagen’s new Opera with “Kridt” (see the review section), after its inaugural presentation to the Queen, the sponsor and the well-heeled, as well as to the general public by way of live TV broadcast. The dancers,  dressed simply in sombrely coloured trousers and little black dresses, matched the new, entirely black auditorium and stage, which gives the visitor an uneasy feeling of claustrophobia, both tackling the steep and narrow staircases and when uncomfortably seated.

Due to an incomprehensible oversight, the seats are placed exactly one behind the other, which makes it very difficult to watch the performers – all you see is the head of the person in front of you.
The diminutive dimensions of the “Takkelloftet“ are bewildering, especially considering the over-sized Opera into which it has been inserted. Seating at most 180 spectators and smaller than other dance venues already in existence in Denmark (Dansescenen, Kanonhallen, Gran) one wonders why such a modest little stage is being hailed as a grand asset for the Royal Ballet. The cloakroom is ridiculously small, and unattended as well. A bigger stage might have been made ...