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July 2019 issue

This month we bid farewell to choreographer David Bintley, who is stepping down as director of Birmingham Royal Ballet after 24 years; find out about Iain Mackay’s plans for the Yorkshire Ballet Seminars; and report back on the 2019 edition of Blackpool Dance Festival. In addition, we take a look at voguing, as well as […]

Inspiring artists

Isn’t it curious how much ballet dancers differ? By the time they can call themselves professional, they’ve been taught to respect the academic vocabulary and deliver it with precision. Most performers honour those twin obligations faithfully even if they lack imagination, but many go further. The Royal Ballet’s revival of A Month in the Country […]

Giselle

Back in April, I worked on Peter Wright’s version of the Romantic ballet Giselle. It’s a piece that continues to capture our imaginations because it examines both the euphoria, and the destructive capacity of love. Having the opportunity to be coached by Wright in the studio was fascinating, and working with several casts of principals […]

The Four Temperaments at Miami City Ballet

I saw George Balanchine’s 1946 ballet The Four Temperaments for the first time in 2013. I remember it as a special time in my career because I was on tour with Sarasota Ballet performing at the Kennedy Center in Washington DC during the Ballet Across America festival. The sense of cool space, the physical exhalation […]

May 2019 issue

We pay special tribute to Margot Fonteyn in this month’s magazine. One of the greatest ballerinas of the 20th century, and the only dancer to be given the title prima ballerina assoluta by The Royal Ballet, the centenary of Fonteyn’s birth – on May 18, 1919 – is marked by articles written for Dancing Times […]

Against the Stream and She Persisted

In the last few years, allegations of sexual impropriety have run rampant through the performing arts, assaulting film producers, opera and ballet directors, choreographers and performers as they pass. Dance has developed a powerful social conscience, and gender identity is such a hot topic that entire programmes are planned around it. For his second excursion […]

Richard Alston; Yolande Yorke-Edgell; Internationaal Theater Amsterdam

The news of Richard Alston’s knighthood in the New Year Honours List followed the announcement, two months earlier, that his company will close in 2020. Having made dances for 50 of his 70 years and led his own troupe to its 25th anniversary, Sir Richard might be considered the backbone of contemporary dance in the […]

Liam Scarlett Asphodel Meadows, Frederick Ashton The Two Pigeons, TRIO ConcertDance

When The Royal Ballet Upper School left its Barons Court home in 2003 and moved into brand-new facilities in Covent Garden, directly across the street from the stage door that every pupil hopes one day to enter, I was told that the quality and convenience of the new premises were bound to improve the quality […]

Unfamiliar location

January is that month where all the clichés come out. After all the exuberance – and excesses – of Christmas, it feels good to refocus, take stock of what’s been and aim to fill the endeavours of the coming year with happy pragmatism. Sometimes I get irritated at the pressure to work on oneself, to […]

Feeling lucky

Jonathan Gray talks to Northern Ballet’s Javier Torres. Photographs by Izuky Photography “Do you mind if I stretch out my leg?” asks Javier Torres, premier dancer with Northern Ballet, who is nominated for the Dancing Times Best Male Dancer Award at the forthcoming Critics’ Circle National Dance Awards this month. We were sitting on high […]

Ashton’s Les Patineurs, Nureyev’s Cinderella, Bourne’s Swan Lake

Many people consider The Nutcracker the best Christmas ballet, because it’s short, tuneful, easy to understand, and rich with roles for small children. The 1957 and 1958 television broadcasts of George Balanchine’s production for New York City Ballet launched it as a holiday favourite, but, after its first season on stage in 1954, one critic […]

Barbara Newman sees works by Sidi Larbi Cherkaoui and Mark Morris

What do you take away when you leave a dance performance? Does the movement stay with you, or the music, or designs or overall effect? I’m asking because I’m beginning to wonder what the dance public prefers. A friend who teaches a course entitled Performance: Design and Practice at Central Saint Martins recently told me […]

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