Christopher Wheeldon
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…
Same old, same old: Wayne McGregor’s Untitled, 2023, at the Royal Opera House, reviewed
My witty friend whispered that Wayne McGregor’s new ballet Untitled, 2023 put her in mind of Google HQ – it’s…
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…
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…
Crystal Pite tore the house down: Royal Opera's 21st-Century Choreographers reviewed
The choreographers called on to get the nation’s dancers back on to the stage have as much to say about…
Sidi Larbi Cherkaoui’s #MeToo Medusa is a bad hair day from Hades
Medusa is the bad hair day from Hades. Sidi Larbi Cherkaoui’s retelling of the Greek myth is frizzy, tangled and…
The men give the women little to work with: Giselle reviewed
A bumper fortnight for Covent Garden florists thanks to a 20th-anniversary flower shower for the Royal Ballet’s Marianela Nunez and…
Wayne’s world
Ballet would have been an obvious revenue stream for Sadler’s Wells when it reopened back in 1998 but straight-up classics…
Pretty vacant
Alice is at it again. Christopher Wheeldon’s 2011 three-act ballet began another sell-out run at Covent Garden last week. It’s…
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…
Now that's what I call sex: Birmingham Royal Ballet's Ashton Double Bill reviewed
That joke about the young bull who tells the old bull, ‘Hey, Dad, see all those cows — let’s run…
Wheeldon’s new ballet lacks guts: Royal Ballet’s Strapless reviewed
How could it possibly go wrong? The magnetic, seething Russian star Natalia Osipova playing the tragic woman in John Singer…
We’re entering a new era for dance - expect big ballets with big stories
Dance has its own archaeological periods, and 2016’s schedules are confirming what 2015 indicated — that the era of dances…
Rosie Kay’s 5 Soldiers: brutishly physical and powerfully striking
In dance, it’s usually the moment the boys start fighting that challenges your suspension of disbelief. Synchronised fencing (MacMillan’s Romeo…
An American in Paris: a zingy new Wheeldon dance-musical that you won’t want to miss
A new year must start with hope and resolution, and if you’re very rich, with influence in the highest places,…
Thomas Ades’s Polaris at Sadler’s Wells: the dance premiere of the year
This has been an extraordinarily exciting fortnight, on and off stage. Premieres in anything from ice-skating to classical ballet, charismatic…
Modern dance vs Shakespeare
In a dance world that has chosen to dispense with stylistic and semantic subtleties, ‘narrative ballet’ and ‘story ballet’ are…
