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