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A Month in the Country
Features

A Month in the Country

Stephanie Jordan
In the following essay, Stephanie Jordan elucidates the method and meaning of the music selected for Frederick Ashton’s “A Month...
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Russell Maliphant
Reviews

Still Current

Sara Veale
Russell Maliphant’s latest mixed bill is an ode to the art of stage lighting and its uncanny power to charge a performance atmospherically.
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New English Ballet Theatre
Reviews

Hidden Talents

Sara Veale
With “Tryst: Devotion and Betrayal,” New English Ballet Theatre demonstrates an unfortunate truth: enthusiasm alone does not a successful performance make.
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A Winter's Tale
Dance Film

Unpathed Waters

Sara Veale
I can still recall the intrigue I experienced when a trailer I saw at the cinema last autumn turned out...
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Nederlands Dans Theatre
Reviews

In pursuit of profundity

Sara Veale
There’s ample room for wavering quality within a mixed bill. A couple of solid pieces can easily compensate for a weak one, and it only takes one standout work to make audiences recall a programme favourably, provided its companions aren’t complete duds.
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Wendy Whelan
Reviews

Something different, something new

Sara Veale
In a recent conversation with The Royal Opera House, Wendy Whelan compares “Restless Creature” to a flower blossoming, explaining “at the beginning it is a tight bud... but as the programme goes on the movement unravels.”
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Swan Lake and its Metaphors

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Making a Statement

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