Ballet
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
I feel sorry for those stupid enough to believe that ballet is racist or transphobic
Sick though one may be of the way that the poison dart of ‘woke’ is lazily flung at what is…
Leave Bizet’s Carmen alone
I’ve always felt uncomfortably ambivalent about the work of Matthew Bourne. Of course, there is no disputing its infectious exuberance…
I suspect this was a rush job: Like Water for Chocolate reviewed
How much weight of plot can dance carry? Balanchine famously insisted that there are no mothers-in-law in ballet, and masters…
The lonely genius of Bronislava Nijinska
Bronislava Nijinska was constantly undermined in her lifetime – most cruelly by her brother, says Sarah Crompton
Impressive interpretations marred by cuts: Scottish Ballet's The Scandal at Mayerling reviewed
Sneer all you like at its prolixities and vulgarities but Kenneth MacMillan’s Mayerling remains a ballet that packs an exceptionally…
Why is dance so butch these days?
For an art form that once boldly set out to question conventional divisions of gender, ballet now seems to be…
The Nutcracker wasn’t always considered quite such a box of delights
The enduring appeal of The Nutcracker. The ballet wasn’t always considered quite such a box of delights
The genius of Tchaikovsky's Nutcracker score
The enduring appeal of The Nutcracker. Tchaikovsky’s ravishing score is nothing less than the sound of Christmas
Richly layered and intricate: Royal Ballet's The Dante Project reviewed
Where does the artist end and their work begin? Like 2015’s Woolf Works, Wayne McGregor’s new ballet swirls creator and…
Skirt-swishing and stomach-dropping: Ukrainian Ballet Gala, at Sadler's Wells, reviewed
Like musical supergroups and Olympic basketball teams, ballet galas tend to prize individual gifts over group cohesion. A recent one…
Swaggerific display of pumping chests and crotch-grabbing struts: NYDC's Speak Volumes reviewed
Last week I attended a dance performance in person for the first time since March last year. If you’d asked…
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,…
Zippy and stylish, with a glint of mischief: William Forsythe’s The Barre Project reviewed
In the early Noughties there was a Hollywood subgenre (by which I mean a few cult movies, each with terrible…
