Dedicated to dance
since 1910.

Buy Latest Issue

Blog

The Sunny Side of the Street

Only Alan Bennett could set a play in the geriatric ward of an all-purpose community hospital and pack 900 seats with people dying to laugh about people dying. During the initial scenes of Allelujah!, his first play in six years, now installed at the Bridge Theatre, nearly every line drew immediate laughter. Two and a […]

How to Skin a Cat

People have been saying “There’s more than one way to skin a cat” since about 1840 but probably not in terms of making dances. Yet as Örjan Andersson’s Goldberg Variations unfolded at the Barbican several weeks ago, only that phrase allowed me to control my irritation and hang onto my objectivity. It wasn’t easy. Andersson […]

Back in town by Daniel Pratt

A huge smile probably doesn’t dawn across the face of many people on their commute into the City each morning, but that’s what happened to me one morning in late May as I descended the steps out of the mainland station at Cannon Street in London. I was home. Working for most of the year […]

Built to Last by Barbara Newman

Why does Twyla Tharp’s In the Upper Room always bring the house down? Why does William Forsythe’s In the Middle, Somewhat Elevated ignite cheers every time it’s performed? Neither ballet has a set or a story, which, we’re constantly informed, ballet audiences in the UK prefer to anything else. Neither comes attached to lengthy notes […]

Art and Entertainment

One way to distinguish art from entertainment is to ask yourself, Do my imagination and brain respond to this, or only my eyes and ears? If you leave a theatre happy and satisfied, you’ve been well entertained. If you go home with questions in your mind or with various interpretations of the performance competing for […]

Lost Illusions by Barbara Newman

The Royal Ballet and the Maly Drama Theatre make an unlikely couple. One concerns itself with dance, the other with theatre. At capacity, the Royal Opera House accommodates 2,256 people, and the Maly’s home – “maly” means small in Russian – seats only 400, which means the buildings themselves impose different demands on performers. Liam […]

It was what it was, and it is just that

Ballets can surprise a dancer. There are works that appear in your lap that you have no prior relationship with: they were not part of your consciousness during your training and you’ve never seen them before. Yet they become a significant part of your life whilst working on them; the unfamiliar begins to feel like […]

Log-in from London

Graham Watts experiences the capital’s dance scene during March and April 2018 One of the better rites of spring is that these months bring out the best of dance and this year’s ritual feast was special, including a host of London, UK and world premieres. Sadler’s Wells was busy at the beginning of March, opening […]

Daniel Pratt on costumes for ballet

I wasn’t in London for the premiere of Christopher Wheeldon’s Corybantic Games in March, but a profile published on British Vogue’s website of Erdem Moralıoğlu, Wheeldon’s costume designer for the Hellenistically-infused ballet, excited me. Fashion and dance are intoxicating bed fellows; it’s satisfying that a contemporary fashion designer from the UK is working with a […]

Recording History by Barbara Newman

In 1979, the Danish Broadcasting Corporation and the Dance Film Archive of the University of Rochester in New York restored 15 minutes of silent film shot between 1902 and 1906 and featuring the leading artists of the Royal Danish Ballet. Nine tiny ballet excerpts sprang to life, with added piano accompaniment matching the appropriate music […]

Risks Worth Taking by Barbara Newman

In 1921 when Serge Diaghilev produced The Sleeping Princess (commonly called The Sleeping Beauty) in London, he had trouble selling it. Accustomed to an assortment of styles, subjects, music and design in every programme, the public was disappointed by the endless string of classical ensembles and variations, and the production closed halfway through its intended […]

Come Again

Barbara Newman considers works by Richard Alston and Alain Platel Violette Verdy once told me, “Style is a moving field, moving sand. It can be reproduced but it doesn’t always necessarily reflect something that is present or actual, so it has to be done for itself, as a demonstration. It’s like yoga. Yoga is not […]

Connect with Dancing Times: