Don Quixote
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…
An abdication of interpretative responsibility: Royal Opera’s Billy Budd reviewed
The climactic central scene of Benjamin Britten’s Billy Budd ends unexpectedly. The naval court has reached a verdict of death,…
Forget the Don – come for the Mataphwoar Ryoichi Hirano: Royal Ballet’s Don Quixote reviewed
The trouble with Don Quixote is Don Quixote. Whenever the doddering, delusional Don is onstage, tilting at windmills, riding his…
Lee Evans’s acrobatic clowning is the best thing about Pinter Three
Pinter Three appeals to opposite poles of the play-going spectrum. The birdbrains like me will enjoy the music-hall sketches while…
Trains in Spain
The first railway line in Spain, from Barcelona to Mataro a few miles up the coast towards the French border,…
Mad about the boy
Tall, handsome boys with long legs and beautifully arched feet do not grow on trees (if only). Every ballet director…
Carlos Acosta’s incoherent Carmen is a disaster
The love that asks no questions, the love that pays the price… The amount of unconditional love sloshing about at…
Machado de Assis wasn’t the Dickens of Brazil— but he is one of the greats
The surname is pronounced ‘M’shahdo j’Asseece’. There are also two Christian names — Joaquim Maria — which are usually dispensed…
Royal Ballet’s Don Quixote: Carlos Acosta is too brainy with this no-brain ballet
One feels the pang of impending failure whenever the Royal Ballet ventures like a deluded Don Quixote into a periodic…
Carlos Acosta’s Don Quixote lacks the wow factor
Superstar Carlos Acosta makes little or no reference to Don Quixote’s established history in his programme note about the genesis…
