Yasmine Naghdi
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…
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…
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…
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…
Unsettlingly faithful to the spirit of Schiele: Staging Schiele reviewed
‘Come up and see my Schieles.’ Those were the words that ended a friend’s fledgling relationship with an art collector.…
