Jardin aux Lilas is one of ABT’s great calling cards, and it was danced with great seriousness of purpose and devotion by an admirably schooled cast. This short ballet, to "Poème" by Chausson (admirably played by a pick-up orchestra), is one of psychology rather than action. In an Edwardian garden, Caroline (the distinguished Julie Kent, as youthful as when she joined the company 25 years ago), is about to marry a man she doesn’t love. She has a brief meeting with the man she does love (Cory Stearns, well cast); in turn, her fiancé, a stuffed shirt, is approached by his now-discarded mistress Read more ...

Was it the worst-played and worst-danced performance of Duo Concertant I’ve ever seen? I can’t remember a direr in my experience of quite a few DCs. But then the opening night of American Ballet Theatre’s London tour was a set of fine promises falling flat with a thud. A delicate new sextet ruined by the piano player. A masterpiece of musical ballet murdered by the violinist, the pianist and the ballerina. A cod-ballet duet by Twyla Tharp deflated by an unhumorous leading lady. And the only tick - inasmuch as at least the dancers gave it what it needed - was a piece of ensemble window- Read more ...

"You have to start somewhere," remarked Debussy drily at the 1910 premiere of young Stravinsky's Firebird ballet. Even so, that was far more of a somewhere than the ultra-nationalistic Hungarian tone poem Kossuth, first major orchestral flourish of Béla Bartók, the Russian's senior by one year. In choosing it to launch Infernal Dance, the Philharmonia's 2011 celebration not of Stravinsky (as the title weirdly implies) but Bartók, principal conductor Esa-Pekka Salonen showed how far his main Magyar travelled to works like the hyper-percussive First Piano Concerto and the ballet-pantomime The Read more ...

The return of the Royal Ballet’s Swan Lake production coincides with the tumult over the film Black Swan, about which the company’s marketing department must be pretty pleased, even if some of the dancers aren’t. The chief surprise for any newcomers drawn to the ballet by the film, obsessing as it does about the leading ballerina, must be how long it takes to meet the Swan Queen at all.An entire act goes by of the Prince having a party before the scene changes to the lake of swans, and it’s in this first act, long before the Swan Queen herself must step on stage, that a company proves its Read more ...

They’re calling Black Swan BS on some of the dance websites, and while they’re right about the dancing, this is a whale of an enjoyable outing to the flicks: lush, Gothic, psycho and flavoursomely OTT. I don’t much care that Natalie Portman can’t dance for toffee - Tobey Maguire probably didn’t satisfy jockeys with his style in Seabiscuit, or Hilary Swank the boxing clubs in Million Dollar Baby. It’s down to the character study, and who wants well-balanced yoghurt-eaters at a ballet movie anyway? We want girly fantasy, motherly obsession, blood in the shoes, Carrie at the ballet, and Darren Read more ...

Rudy and Margot do intensely serious barre in an Italian garden, Lynn Seymour enjoys a "Loyal Ballet" poster on a 1962 Japanese tour, in Glasgow two ballet girls snatch some rest in uncomfortable chairs. The real world of ballet, as shot by the insider who became a world photographer, Colin Jones. Read the interview with him, describing the friendships and tragic dramas behind the exhibition of 50 years of his ballet pictures at Proud Chelsea Gallery - events as turbulent as anything onstage. All photographs © Colin Jones/Arenapal.com. Click on an image to enter full view and slideshow. [bg Read more ...

The chasm between the top-class ballet available to London-area ballet-goers and the low-grade stuff peddled in the regions is the field where the battle to save ballet’s soul is nightly won or lost. Nothing could be more dispiriting than to see the Russian State Ballet of Siberia’s Swan Lake in Oxford one night, and the Royal Ballet’s Giselle in London the next, knowing that for many unaware Brits without easy access to the capital, Birmingham or Edinburgh the phrase “Russian ballet” implies some shamanic edict of unchallenged natural superiority. Far from it.One can start with the Read more ...

English National Ballet's 2011 season listings pivot largely on the populist Strictly Gershwin dansical before returning to The Nutcracker for next Christmas. In between there are two intriguing programmes given brief but welcome London viewings, highlighting two French masters almost never shown in the UK, Roland Petit and Serge Lifar. Both were young radicals in their time, Lifar as Diaghilev's star who went on to lead Paris Opera Ballet, and Petit, the post-war rebel who oozed French chic, sexuality and modern style in his ballets.Petit has a triple bill to himself, including the Read more ...

I was taken to task by a commenter this year who told me I should go and review music, if I couldn't enjoy dance. Hm. One takes such things to heart, but it's humbug. While piling up memories over 25 years might mean that the noise in my memory is getting more and more obtrusive, that doesn't mean you can't suddenly find the corker one night that wipes the field clean and places a new memory there which will move your yardstick yet again. A scrap of Trisha Brown, an ear-blasting piece of political dance theatre, a joy of a Coppélia, and indeed a dancer-less musical performance of a score that Read more ...

A display of rarely seen photographs of key ballet dancers from the start of the 20th century goes on display at the National Portrait Gallery. The gallery holds the largest surviving archive of the once-fashionable Bassano Studio, London, including portraits of Anna Pavlova and the great classical dancers Adeline Genée (6), Phyllis Bedells (main) and Ninette de Valois (2), founder of the Royal Ballet.These images are shown alongside a newly acquired portfolio from 1913 by E O Hoppé and Bert of Diaghilev's star performers from the Ballets Russes. With nearly 40 portraits, the exhibition will Read more ...

The lighting chief holds the success of a magical fairy-tale staging in his hands. Whatever the designer has done, however fantastical and virtuosic his visions, the lighting chief can ruin it. So it is with English National Ballet’s new Nutcracker, in which two gigantic miscalculations kill any of its old-fashioned atmosphere. Act One is hobbled by a gauze dropped over the front of the stage for half of it; Act Two is sabotaged by ultra-violet lighting like a morgue fridge in a horror movie.How could Peter Farmer, the purveyor of herbaceous ballet designs, have contemplated permitting the Read more ...

Fairy-tale ballets are a bitch. We all grow a mental image of what is “right” when we are about five, and then woe betide anyone whose vision is different – because of course it isn’t different, it’s “wrong”. So David Bintley and his designer, John Macfarlane, are up against audiences chock-full of preconceived notions. And I’m happy to say, after BRB’s premiere of their new Christmas show last night, they passed my inner-five-year-old test with flying colours.Cinderella is even trickier than most fairy-tale ballets. As I said last week, Prokofiev’s music is almost anti-fairy tale – it’ Read more ...