Vadim Muntagirov
Sin and salvation
Where does the artist end and their work begin? Like 2015’s Woolf Works, Wayne McGregor’s new ballet swirls creator and…
Just the ticket
Last week I attended a dance performance in person for the first time since March last year. If you’d asked…
Hello, goodbye
Ballet lovers driven square-eyed by a drip feed of livestreaming and archive footage have been pining for the patter of…
Eroticism and ecstasy
Wayne McGregor’s Morgen! and Frederick Ashton’s Dance of the Blessed Spirits are the first pieces of live dance — streamed…
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…
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…
Proper tutus, gorgeous designs, first-rate dancing: Royal Ballet’s new Swan Lake reviewed
The Royal Ballet’s 2016 Frankenstein was a masterclass in how not to make narrative dance and the news that Liam…
Black magic
Ballet’s romantic mantra could be summed up by John Keats’s ballad ‘La Belle Dame sans Merci’, in which a young…
West End wannabe
The love that asks no questions, the love that pays the price… The amount of unconditional love sloshing about at…
Gutted!
There was blood on the walls and floor at the birth of Kenneth MacMillan’s Romeo and Juliet in 1965. The…
