Balanchine
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,…
Can ballet survive the culture wars?
Despite #MeToo and the new resistance to male bullying, the dance world is still ferocious and unforgiving, writes Rupert Christiansen
At last some genuine gala material: Royal Ballet's Balanchine and Robbins reviewed
The OED defines ‘gala’ as ‘a festive occasion’. In the ballet world this usually translates as a handful of stars,…
Does Tamara Rojo really think female choreographers are being stifled by sexism?
Tamara Rojo programmed three female choreographers for her English National Ballet spring bill because, she said, she had never danced…
Giselle has floored many a ballerina — it did so again last week
English has all sorts of emotive metaphors for how we feel about the ground. We’re floored. Or well grounded. Or…
Birmingham Royal Ballet review: A Father Ted Carmina Burana
We ballet-goers may be the most self-deceiving audiences in theatre. Put a ‘new work’ in front of us and half…
A masterclass in stage presence from the Bolshoi
Jewels is everything a George Balanchine admirer could ask for. The sumptuous triptych, set to scores by Fauré, Stravinsky and…
