Paul R. W. Jackson: The Last Guru: Robert Cohan’s life in dance, from Martha Graham to London contemporary dance theatre With commentary by Robert Cohan 380pp. Dance Books. £20 (US $33.95). The dance world’s reach has always been tiny. Robert Cohan, the driving force in the understanding of contemporary dance
Isabel Allende, Ripper (Fourth Estate, £12.99, 478 pp.) Some literary writers have patronizing attitudes to genre. John Banville, who writes crime-fiction as Benjamin Black, has said he produces just 100 words a day as a literary novelist, but a couple of thousand as Black. Crime-writing is easy was his subtext.
It has been said that Mozart, so prodigiously talented so young, seemed to be merely a vessel through which God, or the music of the spheres, or whichever higher being one chooses, channelled the sounds of heaven. So, too, sometimes, does Balanchine appear to be a vessel through which music
The wait for Rebus’ return was not as long as Holmes’ from the Reichenbach Falls. Only a year after the Edinburgh detective ‘retired’, readers were reassured he would return, and he did, working cold cases. Now he’s back on the front-line, in a neat role reversal detective-sergeant to former protégée
Double visions Should anyone need an object lesson in archetype vs stereotype, the dip back into the nineteenth century performed by these two radically different companies could scarcely be bettered as an example. Potential dance audiences tend to be gun-shy, skittering at unfamiliar titles or mixed bills. The
Is David Bintley the one that got away, the wrong turning the Royal Ballet took in the early 1990s? I have long thought so, and watching their current triple bill, the feeling only grows. Bintley trained at the Royal Ballet School, graduated into Sadler’s Wells (now Birmingham Royal Ballet), and
The Bolshoi’s summer season in London has so far been straight-down-the-line trad: Swan Lake as an opener, Bayadère, Sleeping Beauty. Now, however, with Balanchine’s Jewels, they’ve at least dipped a pointe shoe into the 20th century, if rather cautiously. Jewels is, to be blunt, a beast of a ballet to
Sometimes it’s better to be lucky than good. Sometimes, of course, it’s even better to be both. And Birmingham Royal Ballet, in their all-too-brief London season, have been both lucky and good. Lucky, because they have Peter Wright’s little jewel of a production to dance; and good because, well, they’re
English