Dance
Expressive and eloquent: Northern Ballet’s Three Short Ballets reviewed
Ballet companies have become dismally timid about exploring their 20th-century heritage: everything nowadays must be either box-fresh new or a…
Welcome back to London City Ballet – but can they please change their name?
There’s sound thinking behind this summer’s resuscitation of London City Ballet – a medium-scale touring company popular in the 1980s…
Are the best young ballerinas being lured away from dance by sport?
As graduation ceremonies go, the Royal Ballet School’s annual matinée ranks among the most spectacular. It takes place at the…
The genius of Frederick Ashton
To defend my case that Frederick Ashton ought to be acknowledged as one of the major artistic geniuses of the…
The problem with Swan Lake
Over this summer you can see Swan Lake performed at the Royal Opera House by the Royal Ballet; at the…
A fitting – and lovable – tribute to Frederick Ashton
I encountered Frederick Ashton at a dinner party shortly before he died in 1988. Frail and anxious, he clutched my…
Arresting and memorable: Compagnie Maguy Marin’s May B reviewed
Samuel Beckett was notoriously reluctant to let people muck about with his work, so it’s somewhat surprising to learn that…
There are passages of considerable eloquence in Royal Ballet’s The Winter’s Tale
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
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!
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
Ben Duke belongs to a class of younger choreographers who have decided to flout the convention that dancers should remain…
Uninventive and far too polite: BRB’s Black Sabbath – The Ballet reviewed
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
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
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
In 2015 Carlos Acosta announced his retirement from the Royal Ballet and the classical repertory. It seemed like the right…
Short of sparkle: Cinderella-in-the-round, at the Royal Albert Hall, reviewed
Having been unexpectedly delighted by the Royal Ballet’s revival of Christopher Wheeldon’s Corybantic Games at Covent Garden last week, I…
