The Society for Theatre Research’s book of the year award has been won by ballet critic Jann Parry for Different Drummer, her biography of the Royal Ballet choreographer Kenneth MacMillan.
If you're going to dance before the future King of England, and your company bears his family's crest, you'd better dance well. No one could really be in any doubt that the Royal Ballet would put on a grand show with its new revival of Frederick Ashton's 1960 La Fille mal gardée; but it was only at the end, when a shimmering cast in this always shimmering production took its bow with emphatic gestures to a box up on the right, that some of us in the audience realised who'd been watching [wrote James Woodall on 10 March.
Good dancing - never mind great dancing - calls for an investment of imagination in every point of the foot, every raise of the arm. Why otherwise do the constant drill of turning out the leg, stretching the instep, taking fifth position, if the performer does not find something to stimulate them to make it personal, to dream it, to claim it for their own nuance? Does the violinist play Schubert thinking that it is enough just to get the notes right?
“It’ll be tricky to write about,” said the man next to me last night, a Cubaphile. “It's the good, the bad and the awful.” The Cubans’ second programme, The Magic of Dance, is an old-fashioned warhorse of showstoppers from the classics, a tapas bar of Giselle, Sleeping Beauty, Nutcracker, Coppelia, Don Quixote, Swan Lake and Gottschalk Symphony. Come again, the last one? It’s a company conga by Alicia Alonso. Enough said.
In the Cuban National Ballet’s Swan Lake fourth act, the corps of swans do a curious, aggressive attacking run you don’t see in any other production - they lower their heads and charge at Prince Siegfried, with hands fluttering angrily behind them, as if they were the evil magicians, not the creatures under a spell. There is a spell cast over the Cuban Ballet, a 60-year-old spell, which was once a force of astounding light and artistic release, but which is declining into depression.
How does a ballerina feel during Swan Lake? Find out instantaneously from the New York ballerina who tweets while she dances. Ashley Bouder is one of the most exciting dancers of the new generation over there - and new-generation she is.
Was it with a hollow laugh that ENB programmed Cinderella for the election period - as a reminder that glittery fairy phaetons are in fact pumpkins with money? Was it a hint that ballet needs political fairy godmothers? With airwaves full of budget cuts, nothing was more welcome yesterday than to go into a Bristol Hippodrome matinee, full of noisy children, and watch this delightful fairytale of wish-fulfilment laid before them. Even better, with the radiant Elena Glurdjidze as the ash girl.
In a constantly challenging output of ballets, the remarkable choreographer Kenneth MacMillan produced nothing more upsetting than his last, The Judas Tree. Baldly, it portrays gang-rape, double murder and suicide among a nasty bunch of men on a building site.
What should a choreographer set before a Prince for a Royal Gala performance when his finest hour is a portrayal of Royal buggery with a hot poker? Well, possibly (sotto voce) clogdancing cobblers and pegleg pirates might be found more suitable, and plenty of children on stage. So peglegs and clogdancing is what Prince Charles will duly be served tonight at the celebration of 20 years of Birmingham Royal Ballet. These are not times to be challenging any more.