wed 22/05/2013

Judith Flanders

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Bio
Judith is the author of A Circle of Sisters, a biography of Alice Kipling, Louisa Baldwin, Agnes Poynter and Georgiana Burne-Jones, The Victorian House: Domestic Life from Childbirth to Deathbed, and Consuming Passions: Leisure and Pleasure in Victorian England. Her new book, The Invention of Murder, was recently published in paperback. She writes on the arts and books for the Spectator, the Wall Street Journal, the Sunday Telegraph and the TLS.

Articles by Judith Flanders

Laurencia, Mikhailovsky Ballet, London Coliseum

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...

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Don Quixote, Mikhailovsky Ballet, London Coliseum

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...

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Giselle, Mikhailovsky Ballet, London Coliseum

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...

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The Metamorphosis, Linbury Studio Theatre, Royal Opera House

“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...

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Vollmond, Tanztheater Wuppertal Pina Bausch, Sadler’s Wells

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...

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La Valse/ Monotones/ Marguerite & Armand, Royal Ballet

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...

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Onegin, Royal Ballet

The worldwide success of John Cranko’s 1960s version of Tchaikovsky’s opera, in turn an adaptation of Pushkin’s verse-drama, might have taken even the choreographer by surprise. Tchaikovsky himself...

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The Firebird/In the Night/Raymonda, Royal Ballet

It’s hard to work out why the Royal Ballet has not indulged in more Jerome Robbins, so eminently suited does it seem for their taste for emotional understatement. In the Night had a few outings in...

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Cesena, Anne Teresa De Keersmaeker’s Rosas, Sadler’s Wells

Well, if De Keersmaeker made us work hard for our enlightenment earlier in the week, we more than get our reward with her triumphant, astonishing Cesena in the second part of her double-programme...

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En Atendant, Anne Teresa De Keersmaeker’s Rosas, Sadler’s Wells

No one ever accused of Anne Teresa De Keersmaeker of thinking small. Or not thinking, for that matter. Her international career began with a bang, when with only her second work she created Fase,...

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Viscera/Infra/Fool's Paradise, Royal Ballet

A new Liam Scarlett ballet has become an event, even as, in this case, Scarlett’s home company, the Royal Ballet, is recreating a work he choreographed last January for Miami City Ballet – the young...

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Nosferatu, TR Warszawa and Teatr Narodowy, Barbican Theatre

The famous count could not have a more theatrical pedigree if he tried. The great actor-manager Henry Irving – tall, preternaturally thin, with a fixed glare (due, apparently, to extreme myopia) and...

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Swan Lake, Royal Ballet

The Royal Ballet’s autumn season began on Monday, but this was the eagerly awaited Swan Lake. Natalia Osipova, ex-Bolshoi, now principal with American Ballet Theater and the Mikhailovsky in St...

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Enquirer, National Theatre of Scotland

Site-specific theatre is hard – where to put the audience, can they stand for nearly two hours, how do we enable them to see/hear, most importantly, what is the purpose of the site and how is it to...

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Timon of Athens, National Theatre

As the much-loved Arthur Marshall so profoundly noted, Ibsen is “not a fun one”. One could, with as much truth, say the same about Shakespeare’s rarely staged Timon of Athens: its misanthropy,...

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Der Fensterputzer, Tanztheater Wuppertal Pina Bausch, Sadler’s Wells

It may be that designer Peter Pabst is the unsung hero of Tanztheater Wuppertal’s “World Cities” extravaganza. When the lights go down at Sadler’s Wells for Der Fensterputzer (The Window-washer), the...

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