Rupert Christiansen

There are passages of considerable eloquence in Royal Ballet’s The Winter’s Tale

11 May 2024 9:00 am

There’s no escaping Christopher Wheeldon – a modest, amiable fellow from Yeovil of whom anyone’s mum would be proud. Reaching…

Don’t write off Hofesh Shechter – his new work is uniquely haunting

4 May 2024 9:00 am

In 2010, when his thrillingly edgy and angry Political Mother delivered modern dance a winding punch right where it hurt,…

Choreographers! Enough with the reworkings of Carmen and Frankenstein!

6 April 2024 9:00 am

Carmen and Frankenstein are without a doubt two of the most over-worked tropes in our culture, the myths of the…

Subtle, intriguing and inventive: Rambert’s Death Trap reviewed

11 November 2023 9:00 am

Ben Duke belongs to a class of younger choreographers who have decided to flout the convention that dancers should remain…

Can everyone please shut up about Maria Callas?

4 November 2023 9:00 am

Rupert Christiansen on the cult of Callas

Uninventive and far too polite: BRB’s Black Sabbath – The Ballet reviewed

21 October 2023 9:00 am

Not being an aficionado of the heavy-metal genre, I snootily suspected that I would rather be standing in the rain…

Striking but not altogether successful: ENB’s Our Voices reviewed

30 September 2023 9:00 am

Aaron S. Watkin, an affable bearded Canadian, is the new artistic director of English National Ballet. He arrives from Dresden,…

A haunting masterpiece: Northern Ballet’s Adagio Hammerklavier reviewed

16 September 2023 9:00 am

One could soundly advise any choreographer to avoid music so transcendentally great in itself that dance can add nothing except…

A vanity exercise: Carlos at 50, at the Royal Opera House, reviewed

12 August 2023 9:00 am

In 2015 Carlos Acosta announced his retirement from the Royal Ballet and the classical repertory. It seemed like the right…

Can ballet survive the culture wars?

22 July 2023 9:00 am

Despite #MeToo and the new resistance to male bullying, the dance world is still ferocious and unforgiving, writes Rupert Christiansen

Short of sparkle: Cinderella-in-the-round, at the Royal Albert Hall, reviewed

24 June 2023 9:00 am

Having been unexpectedly delighted by the Royal Ballet’s revival of Christopher Wheeldon’s Corybantic Games at Covent Garden last week, I…

Same old, same old: Wayne McGregor’s Untitled, 2023, at the Royal Opera House, reviewed

17 June 2023 9:00 am

My witty friend whispered that Wayne McGregor’s new ballet Untitled, 2023 put her in mind of Google HQ – it’s…

Stunts, gimmicks, tricks, hot air: snapshots from the edge of modern dance

27 May 2023 9:00 am

This month I’ve been venturing into the further reaches of modern dance – obscure territory where I don’t feel particularly…

Patronising to the people of Peterborough: BRB2’s Carlos Acosta Classical Selections reviewed

13 May 2023 9:00 am

Fulfilling its sacred duty to serve regions that higher culture tends to avoid, Birmingham Royal Ballet made a midweek visit…

A triumph: Nederlands Dans Theater 1, at Sadler’s Wells, reviewed

29 April 2023 9:00 am

Yes, yes, I know. You’ve had your fill of David Attenborough’s jeremiads, you’ve heard enough already about climate change catastrophe.…