In 2006 the thatched house in Lymington on the Hampshire coast which had been the home of Ken Russell (b 1927) for 30 years burned down. All of the director’s original film scripts, including Women in Love, The Devils and Tommy, were destroyed. So was the bulk of the music collection which inspired him to make his groundbreaking films about composers in the 1960s. There is, however, one part of the Russell archive which has survived, for the simple reason that for 50 years it had never once been in his possession.In the 1950s, after giving up on a career as a dancer, Russell freelanced as a Read more ...

The star ballerina Sylvie Guillem was rehearsing in London when she heard about the cataclysmic Japanese earthquake last spring, and the devastating tsunami in its aftermath. It was an apocalyptic blow that she felt personally. Since her first visit there as a teenager, the internationally renowned dancer has been drawn back to Japan year after year, winning legions of friends and supporters, the culture’s aesthetic clarity and spareness influencing her taste, and complementing her own evolution from classical ballerina assoluta into contemporary dancer stupenda.Her current show, 6000 Miles Read more ...

A beguiling shadow play greets and enchants on arrival: the silhouettes of three ballerinas, each performing an arabesque, are cast upon the wall as you enter. The effect, as their softly delineated forms dip and slowly rotate, is mesmerising. It’s also an apt opener to an exhibition devoted to exploring how Degas strove to achieve a sense of fluidity and movement in his paintings of dancers, a subject for which he is chiefly known.And yet these delightful silhouettes suggest the contradiction at the heart of Degas’s paintings: his charming images are, in fact, exposés. We witness the endless Read more ...

To celebrate theartsdesk's second birthday on Friday, we held a panel discussion on The Art of Performance at Kings Place, London, in the Kings Place Festival. Actor Toby Jones, singer-songwriter Mara Carlyle, harpsichordist Mahan Esfahani and ballerina Bridgett Zehr discussed the challenge of turning work into performance and the moment of offering their artistry to the audience - their goals and inspirations, their best (and worst) performances, and their attitude to critics like us. We filmed the talk live, and below you can watch the event again as it happened, or you can read the Read more ...

It may not serve up all that much to get your teeth into, but Bijan Sheibani’s production of this 1959 play by Arnold Wesker looks fantastic on the plate. Giles Cadle’s saucepan-shaped set is framed by a giant chalkboard, scrawled over and over with daily specials in faded lettering; beyond it, the globular lamps and plate-glass window of the Tivoli restaurant can be glimpsed. But the action is all in the kitchen. Steel utensils clatter and gleam, and ovens roar into life, blue gas flames dancing. Here, as the staff toil in an atmosphere of sweaty industry, we are treated to a kind of Read more ...

The fact that the world’s most popular ballet score had never, until last night, been performed in full at the Proms says something about the lowly regard in which musical circles long held composition for ballet. The fact that the Albert Hall’s capacity audience bayed six times for Valery Gergiev’s return to take their appreciation of his and the Mariinsky Theatre Orchestra’s performance of it last night says something about it being about time that musical circles stopped being so snobby.Those of us who haunt ballet theatres have become inured to shoddy performances of Swan Lake, its Read more ...

The bayadere bears on her shoulder a vase of holy water, and the story of the ballet La bayadère is of her refusal to compromise. She could better her life in two political deals: become the high priest’s mistress, or later, when bitten by a poisonous snake, take the antidote and live on while watching her sworn lover marry the princess who he knows tried to murder her. She refuses both. She remains, morally, the vessel of a purity that it would kill her spirit to give up.To stay so true to a principle isn’t only the stuff of fantastical ballet fairy tales. It has to be true of the Read more ...

The Mariinsky Ballet has just completed a three-week season, with terrific highs (and the odd low). This was the 50th anniversary of the Mariinsky's (then Kirov's) first London visit, in 1961, and it is worth highlighting the role impresarios Victor and Lilian Hochhauser have played in the cultural life of London. They brought the Mariinsky to London in 1961, and, half a century later, they have once more given Londoners a summer of artistic richness, with 10 ballets, six choreographers and numerous casts. We owe a great deal to this extraordinary couple.So, to work.GREATEST THRILL: Read more ...

It is claimed that the philosopher GE Moore had a fantasy. After many years’ work, Tolstoy had finally finished War and Peace. Sonya had copied it out for the umpteenth time. The thing goes off to the printer. Peace reigns. And then, in the middle of the night, Tolstoy leaps out of bed, shrieking, “I forgot to put in a yacht race!”Well, that was War and Peace. Alexei Ratmansky hasn’t tried to distil that monster into ballet, but has instead gone for the (relatively) brief Anna Karenina. But by God, he’s got the yacht race in all the same – or, at least, a horse race.Indeed, the Read more ...

It is all too easy to be cynical about the ballet version of Don Quixote. With almost no part for the title character, it is a 19th-century Russian take on faux-Spanish dancing, a farce in which the barber Basilio longs for the charming Kitri, while her father wants her to marry a rich fop. As the Radio Times used to say, “Much hilarity ensues.”Well, actually, it rarely does, for funny ballets are few and far between. Frederick Ashton achieved it in his miraculous La fille mal gardée; Jerome Robbins’s The Concert can make a grown (wo)man weep with happiness on the right night; Baryshnikov Read more ...

Mikhail Fokine, choreographer to both West and East, looked forward and back, too. He studied in the old Imperial Theatre School when the tsars ruled Russia, and he was also Diaghilev’s creative genius at the Ballets Russes, moving dance into the 20th century before and after the Revolution. The Mariinsky, once his home, is a premier exponent of his multifaceted styles. Chopiniana, his 1907 “white” ballet (known in the West as Les Sylphides) (pictured right, photo V Baranovsky), can be inert, shapeless, lifeless. Indeed, it all too frequently is. Saddled with an unappealing score (Chopin Read more ...

For most dancers the first base is to get principal roles. For a star like Carlos Acosta, second base becomes urgent: to find the career path beyond classical ballet. Like Sylvie Guillem he seeks out a new contemporary dance path to fulfil, being still full of glorious physical vigour and still well under 40. But it turns out to be about wise investment. Guillem invested long ago in blue-chip stock, William Forsythe, Mats Ek, Akram Khan and Russell Maliphant, the choreographers with whom she now extends her stellar career into her mid-forties. Acosta hasn't invested so wisely.The London Read more ...