Ballet
The best thing Cathy Marston has ever done
The Royal Ballet has scheduled what – on paper at least – looks like one of the most dismally dull…
‘Ballet is antiquated, and it works’: Royal Ballet principal Matthew Ball interviewed
The history of the male ballet dancer is a chequered one. In the early 19th century, he was the star…
Michael Keegan-Dolan’s How to be a Dancer is worthy of Flann O’Brien
Michael Keegan-Dolan’s show doesn’t even pretend to live up to the arresting proposition in its title – anyone hoping to…
Picasso’s ravishing work for the ballet
Visitors to the Victoria and Albert Museum’s new storehouse in Stratford’s Olympic Park are being enthralled by an atmospherically lit…
Depressingly corny: Quadrophenia, a Mod Ballet, reviewed
It’s all very well for people like me to sneer at dance makers for drawing on classic rock as a…
The past is another country: Ripeness, by Sarah Moss, reviewed
The voice of teenage Edith caring for her pregnant sister in Italy alternates with that of her elderly self in contemporary Ireland in a story of identity, belonging and consent
Christopher Wheeldon’s real gifts lie in abstract dance
Christopher Wheeldon must be one of the most steadily productive and widely popular figures in today’s dance world, but I’m…
Exhilarating – but also exhausting: ENB’s The Forsythe Programme reviewed
The first time I saw the work of Trajal Harrell I stomped out in a huff muttering about the waste…
Perfection: The Rest is Classified reviewed
Interviewing for MI6 sounds to have been even scarier a century ago than it must be today. Candidates would enter…
Rejoice at the Royal Ballet’s superb feast of Balanchine
Any evening devoted to the multifaceted genius of George Balanchine is something to be grateful for, manna in the wilderness…
Irresistible: Osipova/Linbury reviewed
One of the few indisputably great ballerinas of her generation, Natalia Osipova is a magnificent exemplar of the Russian school,…
Clouded memories: Ballerina, by Patrick Modiano, reviewed
An ageing narrator looks back 50 years to ‘a most uncertain’ period of his life in Paris and his relationship with a mysterious, elusive ballet dancer
What a sad thing Strictly Come Dancing has become
Those of a violently masochistic disposition would have heartily enjoyed the Saturday matinée of the Strictly Come Dancing: Live Tour…
The pioneering women of modern dance
Through the lives of nine 20th-century performers, beginning with Isadora Duncan, Sara Veale traces the move away from conventional ballet to a bold new philosophy of dance
A jewel in the English National Ballet’s crown: Giselle reviewed
Since its première in Paris in 1841, Giselle has weathered a bumpy ride. For St Petersburg in 1884, Petipa gave…
Superb: Ruination, at the Linbury Theatre, reviewed
Ruination begins with an ironic prologue in which a choric figure warns the audience that what follows makes unlikely matter…
‘La Scala was maddening’: an interview with John Macfarlane, the finest set designer of his generation
Pantomime season is upon us, and unless your taste in colour runs no further than Smarties, there is no more…
I’m done with Hofesh Shechter
I think I’m through with Hofesh Shechter, and that’s a pity, because earlier work of his such as Political Mother…
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…
Letters: A cautionary lesson for England’s schools
Lessons to learn Sir: Your leading article ‘Requires improvement’ (7 September) rightly raised concerns that a curriculum review in England…
How claims of cultural appropriation scuppered an acclaimed new ballet
On 14 March 2020 I was at Leeds Grand Theatre for the première of Northern Ballet’s Geisha. The curtains swung…
The unstoppable rise of stage amplification
Recent acquisition of some insanely expensive hearing aids aimed at helping me out in cacophonous restaurants has set me thinking…
Introducing Tchaikovsky the merry scamp
Rescuing the composer from his tortured image, Simon Morrison presents him as a sort of Till Eulenspiegel character, laughing and pranking his way through life
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…
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…
