In the following essay, Stephanie Jordan elucidates the method and meaning of the music selected for Frederick Ashton’s “A Month... Read More
Russell Maliphant’s latest mixed bill is an ode to the art of stage lighting and its uncanny power to charge a performance atmospherically. Read More
With “Tryst: Devotion and Betrayal,” New English Ballet Theatre demonstrates an unfortunate truth: enthusiasm alone does not a successful performance make. Read More
I can still recall the intrigue I experienced when a trailer I saw at the cinema last autumn turned out... Read More
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. Read More
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.” Read More
