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