There’s been heated disagreement over the past week about what’s right and wrong. Is the rocket-propelled ex-Bolshoi enfant terrible Ivan Vasiliev ‘right’ for Swan Lake? Is English National Ballet right to accept such huge thighs in this of all classics, when the sizeist cohorts of the Russian establishment always said nyet to the sturdy, forceful
A new year must start with hope and resolution, and if you’re very rich, with influence in the highest places, I’d urge you to resolve to dust off the private jet and get to Paris quick this weekend hoping to find a ticket somehow for the last Châtelet performances of An American in Paris, Christopher
One feels the pang of impending failure whenever the Royal Ballet ventures like a deluded Don Quixote into a periodic quest to stage that delightful old ballet named after him. Twice in recent years has it tilted at the windmill and flopped back, dazed and bruised. It never remembers, though, and here it goes a
I’m dashing between dance theatres at the moment and there’s just so much to tell you about. I could linger on Sacred Monsters, the captivating conversation-piece at Sadler’s Wells for Sylvie Guillem and Akram Khan — conversational being the word, for these genius dancers also talk to us, which is rather like Garbo laughing. Guillem’s
The world exists and then it disappears, piece by piece, the gaps widening until one age is replaced by another, leaving only fragments of the past. With luck, these pass through the hands of curious collectors dedicated to bridging the gaps formed by the desecrations of time, before reaching a terminus point in a museum
The great municipal museums are products of the 19th-century imagination, evidence of lofty ambitions and cringe-making limitations. They are exact contemporaries of department stores: the whole world acquired, catalogued, labelled, displayed and inspected. Only at the moment of consumer interaction do they differ. In a department store, everything is for sale. In a museum, everything
This has been an extraordinarily exciting fortnight, on and off stage. Premieres in anything from ice-skating to classical ballet, charismatic soloists in flamenco and Indian kathak, the front-page news of Sylvie Guillem’s retirement, and, even more astonishingly, English National Ballet’s announcement of its new Giselle next year by Akram Khan. Consequently I have to short-change
The odds were a hundred to one against him. Brought up in bourgeois Bayswater by genteel parents, Cecil Beaton was effete, pink-and-white pretty, theatrical and mother-adored, with a stodgy brother (but a couple of compliant sisters) —a cliché of post-Edwardian sniffiness, a leer through raised lorgnettes. A humdrum early education followed by Harrow might have
English ballet erupted out of the second world war in the hands of the rival choreographers Frederick Ashton and Robert Helpmann, colleagues but of different instincts, one for dance, the other for drama. The case is currently being made for each by the Royal Ballet and Birmingham Royal Ballet. But how to revive the sensations
We are told this is now a ‘knowledge economy’. Strange, then, that there are so few recent educational buildings of note. An expansion of universities has not led to much enlightened architectural patronage. Rather the opposite, in fact. The university visual trope remains those dogged dreaming spires. And London’s skyline is punctuated not by grand
GCSE Eng Lit pupils are doing well from dance this season with two set books told in the medium of dance, Arthur Miller’s The Crucible and William Golding’s Lord of the Flies, and even Dylan Thomas gets a look in. As the two stories have similar dynamics and dramatic themes, it was fascinating to see
Now that the conference season is over, we can compare not just the party policies, but their logos too. Last week’s Tory conference taught us the patriotic adaptation of their tree — now draped in the Union Flag — doesn’t work any better than the original green-tree symbol. The old symbol demonstrated Conservative values as
What can the Royal Opera House be insinuating about its target audience? No sooner had Anna Nicole closed than Manon opened the new ballet season. Kenneth MacMillan’s gold-digger turns 40 this year but her promiscuous allure shows no signs of failing punters with money to burn on sex thrills. I once took my partner to
It’s the tub of bright red geraniums at the heart of the picture that startles. How did anyone have time (or energy) to water these bright, hopeful flowers amid the chaos of a field hospital in early 1915? ‘Tents with Stores and Flower Tub’ is one of ten paintings by Victor Tardieu in the Florence
The New York-based sculptor Ursula von Rydingsvard comes from a long line of Polish and Ukrainian peasant farmers. She was born in Germany in 1942 on a forced labour farm to which her parents had been transported by the Nazis. Her early memories are of a wooden world — of huts, fences, domestic utensils and
Anne Seymour Damer (1748–1828) was virtually the only female sculptor working in Britain during her lifetime. Contemporary artists may have dismissed her as a well-connected dilettante with curiosity value as a woman. But her most important connection was her uncle, Horace Walpole. He warmly praised his niece’s abilities: her terracotta ‘Shock Dog’ of 1780 (see
Last week, the feast of long-awaited dance events on offer echoed bygone days when London life was dominated by the strategically engineered appearances of rival ballet stars at the same time in different venues. At the London Coliseum, Solo for Two featured one of ballet’s super-duper couples, Natalia Osipova and Ivan Vasiliev. As Osipova told
Jeff Koons’s ‘Bear and Policeman’ has been used to advertise the Hayward Gallery’s latest show The Human Factor (until 7 September). But don’t be fooled; this exploration of the human figure is neither cute nor cuddly. It includes photos of rotting corpses, mannequins made from animal guts and live bees. It’s more creepy than kitsch.
And they’re off. The mighty caravan of romantic desperadoes, radical egoists, stadium wannabes, struggling superstars and vanity crackheads is on its way to Edinburgh. This year’s Fringe sponsor is Virgin Money, which must be some kind of in-joke because most performers spend August watching their life savings being ritually despoiled by landlords, press agents and
According to some textbooks, one thing the fathers of Soviet choreography hastened to remove from ballet was that awkward-looking language of gestures generally referred to as ‘ballet mime’. Which explains why most Russian versions of Swan Lake lack familiar mime dialogues. And when it came to creating new ballets that required silent acting, such as