Ballet
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…
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…
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,…
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…
The dazzling classic The Red Shoes has several unfashionable lessons for us today
Seventy-five years after its release, Powell and Pressburger’s dazzling, much-loved classic is more timely than ever, says Robin Ashenden
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…
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
One long moan of woe: Crystal Pite's Light of Passage, at the Royal Opera, reviewed
I was moved and shaken by Crystal Pite’s Flight Pattern when I first saw it in 2017. In richly visualised…
A solid evening’s entertainment: Rambert's Peaky Blinders ballet reviewed
Being of a squeamish sensibility and prejudiced by a low opinion of recent BBC drama, I can claim only a…
Letters: Britain needs the English National Ballet
Putin’s options Sir: I agree with Paul Wood that Vladimir Putin is on the back foot (‘Cornered’, 24 September). His…
Exhilarating, frightening and hilarious: Made in Leeds – Three Short Ballets reviewed
Good, better, best was the satisfying trajectory of Northern Ballet’s terrific programme of three original short works, which moves south…
Nureyev deserves better: Nureyev – Legend and Legacy, at Theatre Royal Drury Lane, reviewed
I was never Rudolf Nureyev’s greatest fan. I must have seen him dance 30 or 40 times, starting with a…
The company has a hit on their hands: Scottish Ballet's Coppélia reviewed
With the major companies largely on their summer breaks, the Edinburgh International Festival struggles to programme a high standard of…
The magic of Les Ballets Trockadero de Monte Carlo
Louise Levene on the male ballet troupe that realised the ballerinas have all the best lines
