Sarah Lamb
Two by two
Mothballed since March when it danced a farewell Swan Lake, the Royal Ballet made a triumphant and joyous return to…
Manon can be magnificent, this one was merely meh
Manon: minx or martyr? There are two ways to play Kenneth MacMillan’s courtesan. Is Manon an ingénue, a guileless country…
Why Mayerling is a #MeToo minefield
Kenneth MacMillan’s Mayerling is a #MeToo minefield. Crown Prince Rudolf of Austria-Hungary is a serial seducer, a man of many…
Reducing the lead to an demented rape victim is just what ballet needs: The Wind reviewed
A kindly cowboy, an East Coast bride, adultery, murder and madness. The Wind, Dorothy Scarborough’s 1925 Texas gothic novel (and…
Study in spectacle
In a dance world that has chosen to dispense with stylistic and semantic subtleties, ‘narrative ballet’ and ‘story ballet’ are…
Inspired by Bach
It appears that J.S. Bach’s music is to theatre-dance what whipped cream is to chocolate. Masterworks such as Trisha Brown’s…
