mon 29/09/2025

dance

Cinderella, Scottish Ballet, Edinburgh Festival Theatre

Hanna Weibye

When producing Cinderella, the main question is: sweet or sour?  That Prokofiev score is splendid, but it's no walk in a candy shop; in Act I the stepsisters have passages so scraping, spiky and dissonant that sugar-coating would seem to be out of the question.

Read more...

Best of 2015: Dance & Ballet

Hanna Weibye

It was business as usual in the British dance world in 2015. Looking back over the year, theartsdesk's dance critics see the industry's many talented, capable people continuing to do their jobs well, but we don't recall being shaken, stirred or surprised as often as in other years, or at least not by new works: our top moments of the year are concentrated in the farewells of great dancers Sylvie Guillem and Carlos Acosta, and in classic productions of classic ballets.

Read more...

Nutcracker, English National Ballet, London Coliseum

Hanna Weibye

Christmas legends are not born; they are made. In the case of the Nutcracker, its Christmas indispensability in Britain and America stems not from the original 1892 St Petersburg production, but from 1950s reinterpretations by emigré Russians (Balanchine and Karinska in the US, Lichine and Benois in the UK). Like most other story ballets, there is no stable text - apart from the Tchaikovsy score, of course, but Balanchine was happy to cut and rearrange that too.

Read more...

The Little Match Girl, Lilian Baylis Studio Theatre

Hanna Weibye

I habitually skipped over Hans Christian Andersen's Little Match Girl in my childhood fairy tale compendium because I couldn't bear the sadness (see also: The Happy Prince *sob*).

Read more...

Matthew Bourne's Sleeping Beauty, Sadler's Wells

Jenny Gilbert

If Matthew Bourne never made another story ballet, his company New Adventures could probably carry on touring his back catalogue till the end of time. The Sleeping Beauty is only on its second London outing, and although it lacks the emotional clout of his Swan Lake, it’s clearly set for a similarly long life as a Great British Export.

Read more...

Carlos Acosta: A Classical Selection, London Coliseum

Jenny Gilbert

“Every time I go on stage it could be the last,” Carlos Acosta warned a few years back. And now that moment has come – or very nearly. There are a scant six performances of this farewell gala at the Coliseum (largely a reprise of an Olivier-winning programme he presented in 2006). Then he picks it up again next May, with different supporting dancers, for a fleeting regional tour.

Read more...

The Nutcracker, Royal Ballet

Hanna Weibye

With its hybrid Romantic-kitschy plot, chocolate-advert Tchaikovksy tunes, and baggage of obligatory Christmas cheer, the Nutcracker is harder to get right than you might think if you've only ever seen Sir Peter Wright's Royal Ballet version, now over 30 years old and still practically perfect in every way.

Read more...

Conceal|Reveal, Sadler's Wells

Hanna Weibye

Any partnership that lasts for 20 years deserves a party, and last night at Sadler's was a celebration of the wonderfully fruitful working relationship between choreographer Russell Maliphant and lighting designer Michael Hulls.

Read more...

The Two Pigeons, Royal Ballet

Hanna Weibye

With real live birds fluttering across the stage, and a sweetly happy ending – hurrah for young love! – Frederick Ashton's 1961 The Two Pigeons can look like mere frothy fantasy, precisely the kind of trivial, uncomplicated ballet plot that the young Kenneth MacMillan was reacting against in his own work in the early 60s.

Read more...

Sacre, Sasha Waltz and Guests, Sadler's Wells

Hanna Weibye

What dancemaker wouldn't want to tackle Le Sacre du Printemps (The Rite of Spring) at some point? Just as the Stravinsky score changed music, the original Ballets Russes production changed dance - and was then, conveniently, so completely forgotten that no master-text exists. Everyone is free to take the Stravinsky and run.

Read more...

Pages

latest in today

'We are bowled over!' Thank you for your messages... ...
The Hack, ITV review - plodding anatomy of twin UK scandals

The latest instalment of the ITV drama department’s attempts at trial by television is another anatomy of a scandal, but with little of...

Punch, Apollo Theatre review - powerful play about the stren...

For the first part of Punch it feels as if you’re riding a roller coaster, watching the world speed and loop past as you see it from the...

Cinderella/La Cenerentola, English National Opera review - t...

When you go to the prince’s ball, would you prefer a night of sobriety or excess? Julia Burbach’s new production of Rossini’s Cinderella...

Music Reissues Weekly: The Peanut Butter Conspiracy - The Mo...

“It's a Happening Thing,” January 1967’s debut single from...

Goldscheider, Brother Tree Sound, Kings Place review - music...

Last night’s concert at Kings Place was a programme of...

The Billionaire Inside Your Head, Hampstead Theatre review -...

What would it be like to be driven by OCD urges into idolising Elon Musk and aspiring to be one of his tribe of tech bros? In his debut...

theartsdesk Q&A: composer Donghoon Shin on his new conce...

Donghoon Shin has a taste for the esoteric – a love of labyrinths, literary puzzles, and contradictory aspects of the self. One of his favourite...

Doja Cat's 'Vie' starts well but soon tails o...

Doja Cat is a fascinating one-off. She’s a rap-centric...