It’s not often you go to a ballet to watch a history lesson unfold, but Laurencia, the 1939 Soviet ballet choreographed by Vakhtang Chabukiani, gives us exactly that, and a gripping one under the froth and fun. Based on the 17th-century playwright Lope de Vega’s Fuente Ovejuna, Laurencia tells of
If you want virtuosity, there’s only one place to be in London right now, and that’s watching the Mikhailovsky’s fine production of that demented old warhorse, Don Quixote, with Natalia Osipova and Ivan Vasiliev in the leads. Don Quixote is one of the 19th-century’s pastiche pleasures, half-pantomime, half-burlesque, all razzmatazz.
When the Bolshoi’s wunderkinder, Natalia Osipova and Ivan Vasiliev, suddenly left the company two years ago, the dance world played endless guessing-games as to where they would end up. It was like Claude Rains in Casablanca: round up the usual suspects. The last company anyone expected, however, was the Mikhailovsky,
When John Major, who started his career in a bank, became British prime minister in 1990, newspaper articles recounted his father’s early days as a music-hall performer. Mr. Major, the wits quipped, was the only person who ever ran away from the circus to join a team of accountants. Duncan
“As Gregor Samsa awoke one morning from a troubled dream, he found himself transformed in his bed into a monstrous insect.” In one of the most famous opening lines in literature, Franz Kafka gives birth to a startling hallucinogenic premise. And Arthur Pita’s very clever dance drama produces something of
The great dance critic Richard Buckle once famously reviewed a winter season by remarking that each Christmas brings us “one Nutcracker closer to death”, and certainly it is possible to note the passing of the years by watching the Swans migrate, then the Firebirds. Kevin O’Hare has now seen his
If you are a Bausch newbie, Vollmond (Full Moon) may well be the place to start. “It’s a full moon,” says Nazareth Panadero, giving us a cynical smirk. “Don’t get drunk,” she adds before sauntering off. Glasses are raised and, as always in Bausch, water flows, both in and, especially,
Genius does not mean having no influences. Monotones, one of the very greatest of Frederick Ashton’s ballets, is heavily influenced by other works: by George Balanchine’s Theme and Variations and Apollo, by Marius Petipa’s La Bayadère. And it in turn has influenced other great works: Kenneth MacMillan’s searing Gloria would
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