If you like the BBC’s Les Misérables, you’ll love English National Ballet’s Manon. Manon, in Kenneth MacMillan’s telling, is The Glums in tights. Alina Cojocaru dances Manon, an 18th-century courtesan in Paris, pimped by her brother Lescaut (Jeffrey Cirio). She falls for Des Grieux (Joseph Caley), young, handsome, penniless, love’s young dream, and is later
The Royal Ballet’s Les Patineurs is January as you would wish it. No slush, no new-year sales, no streaming chest colds. Winter, as imagined by Frederick Ashton, is an eternal ice rink lit by Chinese lanterns hung from icing-sugar branches. Ashton’s choreography is ingenious. His dancers really do seem to glide, the boards of the
Grade: A– 1898: two Parisiennes and a housemaid secretly invite each other’s partners to the Paris Opera ball and… c’mon, you can guess the rest. It’s Christmas: you don’t want Götterdämmerung. You want luxury, you want tunes and you want irresponsible fun. Richard Heuberger’s waltz-operetta Der Opernball is basically a deluxe box of musical liqueur
Not another Nutcracker, I thought on the way to the Opera House. Haven’t we had our fill of Sugar Plums? I took my seat, the Grinch of Covent Garden, wondering if we couldn’t have The Winter’s Tale for a change. The lights went down, the orchestra assembled and within six bars of Tchaikovsky’s irresistibly sparkling
Not a bad year for the award. Honourable mentions must go to the landfill abstractions of Oxford’s new Westgate Centre, to the bees that have appeared in Manchester’s streets to promote the ‘unique buzz’ of the city and to Gillian Wearing, a once decent conceptual artist who has taken to sculpture like a cat to
The Royal Ballet is a company in search of a prince. It has no lack of dancing princesses. You could search the kingdom and find no lovelier dancers than Marianela Nunez, Lauren Cuthbertson, Francesca Hayward, Natalia Osipova, Akane Takada, Sarah Lamb, Laura Morera and Yasmine Naghdi. But a true prince is as rare as a
Grade: C A derided year in pop music, 1975 — and yet a great one. The mainstream was horrible, but we had Neil Young’s Tonight’s The Night, Patti Smith’s Horses, Guy Clarke’s Old No. 1 and Television just beginning to break through. It is in the lacunae, before the next big wave, that we hear
Grade: D+ I promise you this isn’t simply class loathing. Yer toffs have contributed to British rock and pop and it hasn’t all been unspeakably vile. There were moments when Kevin Ayers held our interest, for example, and even Radiohead. And then there’s that man of the people, Joe Strummer. So let’s excuse Mumford &
La Bayadère opens with a sacred flame and ends with an earthquake. In between, Marius Petipa’s ballet of 1877 gives us an India of the imagination, an India that never was. It is a place of tigers and tutus, scimitars and slippers. Cultural appropriation, you say? But who could object when it’s all so Pondicherry
Grade: A+ Ooh, you can have some fun with this when the unwanted guests swing by this Christmastide. These are the ‘greatest hits’ of a serially indulged caterwauling loon with the political disposition of a spoiled seven-year-old, redone to make them even worse than they were before. So, put on ‘Why’ as you hand around
You can, perhaps, glimpse Lorenzo Lotto himself in the National Gallery’s marvellous exhibition, Lorenzo Lotto: Portraits. At the base of an altarpiece from 1541 a gaggle of paupers stretch their arms up in hopes of receiving the charity being handed out by Dominican friars above. One of these, a bearded, red-robed man, is supposed to
Every era has its western. For 30 years, from The Big Trail through to The Searchers, John Wayne reigned supreme across American cinema, a dispenser of justice forged on the battlefields of the Civil War. Then, from the 1960s, John Ford’s foundations were mixed with Italian influences to create the brutal anti-heroes of the spaghetti
So there I was in Soho Square on a cold and rainy morning, nibbling my complimentary almond croissant and eagerly looking forward to the advance preview of Mike Leigh’s new historical epic Peterloo. This People’s Uprising of 1819, and its brutal suppression by a wealthy, uncaring and out-of-touch metropolitan elite, took place precisely 200 years
In Britain today, Islam in its original essence is not to be found in mosques or Muslim schools, but on the first floor of the British Museum. There, the Albukhary Islamic gallery, newly opened to the public, dazzles visitors and defies every certainty promoted by today’s hardline Muslim activists. This spectacular exhibition of objects from
Like it or not, provincial ballet audiences love a story they can hum and any director planning to tour a swan-light, sugar plum-free menu has always done so at their peril. Tchaikovsky isn’t compulsory: a really well-known story, however undanceable, can usually do decent business (Northern Ballet’s extremely silly Three Musketeers is a reliable granny-magnet).
Grade: A+ Easily album title of the year, maybe album of the year. A true bravura offering from these supposedly tired old men. Cypress Hill are now in comfortable middle age, almost as old as me, ffs. But they were ever ludicrously inventive and idiosyncratic, right back to that first album in 1991, which wrote
Grade: B– Ooh goody — a parade to rain on! You wouldn’t believe the hyperbole expended by the rock critics on this middle-class French lass, real name Héloïse Letissier. Or maybe, being used to such mass gullibility, you would. ‘Bogglingly intelligent’ and ‘a thrillingly uncompromising artist, playing with ideas of gender, identity and individuality to
Kenneth MacMillan’s Mayerling is a #MeToo minefield. Crown Prince Rudolf of Austria-Hungary is a serial seducer, a man of many mistresses, a grabber of princesses. Were he alive and kissing today, he’d check himself into an Arizona rehab clinic. In 1889, it was laudanum and a loaded pistol. Rudolf ought to be tormented, driven by
William Forsythe has been called a lot of things in his four decades as a dancemaker: wilful provocateur, ‘pretentious as hell’, even ballet’s Antichrist. But nothing, he claims, to warrant US government officials showing up, unannounced, at his door and threatening him with arrest. Had he been reported by an angry dance purist, perhaps? After
‘Ballet is woman’ insisted George Balanchine, but ballet can also be a big man in a dress as any fan of Les Ballets Trockadero de Monte Carlo will testify. The Trocks began life in 1974, dancing for a select few in pop-up performance spaces in Manhattan, but the troupe’s irresistible blend of low comedy and
