A mixed bag from three titans of twentieth century ballet. of which Les Patineurs stands the test of time, best of all; the perfect winter dream: one that comes in a snooze after mulled wine in front of a roaring log fire.
Audio and film permeate Marriott's new work for the Royal Ballet, recounting the tale of Ted Feltham, a British Soldier uuring World War 1, and his fiancée, Florence Billington.
Yet another revival of MacMillan's signature ballet. Enlivened by tremendous performances, not least in the title role, and still a classic. But, how long will that pertain?
Somehow the sum of all the many parts that make up The Wind fails to galvanise the brilliance that we have come to expect from this fast-rising choreographer
Two complex works of genius, showing different aspects of the suffering of women, bring together The Royal Ballet and English National Ballet to honour Sir Kenneth MacMIllan
A fine start to this unique collaboration between the five major ballet companies in the UK to mark the twenty-fifth anniversary of the passing of one of Britain's greatest choreographers
Virtuosity commanded the stage in the first half, drama and mood in the second, with Liam Scarlett’s new ballet a fitting tribute to the retiring Zenaida Yanowsky
A fascinating collaborative, creative effort combines to make this the most important new work to enter the repertoire of The Royal Ballet, thus far, in the twenty-first century
Wayne McGregor's triple bill at the Royal Opera House celebrates his 10th year as Resident Choreographer of the Royal Ballet. His insatiable curiosity and driving creativity has brought challenge, change and occasionally controversy to the cornerstone of British ballet.
Was she – or wasn’t she – the Grand Duchess Anastasia, youngest daughter of Russia's last tsar who had survived the massacre of her family in 1917? Natalia Osipova made you believe she was.
With little fanfare, other than a cockerel crowing from the pit, the Royal Ballet crept to life for its new season. For a couple of hours, all was right with the world.
The Royal Ballet revives Kenneth MacMillan’s The Invitation, to great public acclaim and with excellent performances in the main roles. The programme also features McGregor's new Obsidian Tear and Wheeldon's Within the Golden Hour.
A steampunk treat for Mary Shelley’s novella fan: Liam Scarlett’s Frankenstein for the Royal Ballet (in collaboration with the San Francisco Ballet) opens at the Royal Opera House.
Christopher Wheeldon’s The Winter's Tale(created for The Royal Ballet in 2014) is back on the Covent Garden stage this month and is as fresh and pristine second time around.
The Royal Ballet's Giselle is classical ballet at its best, paying deep reverence to the original with some of the heavier elements refreshed. Excellently performed by Sarah Lamb and Matthew Golding.
Beguiled, bereaved and betrayed - William Tuckett's Elizabeth imagines the ill-fated romances of the Virgin Queen. Tuckett draws on the monarch's own writings and those of her contemporaries to fashion a full-length work, blending spoken word, dance and music to convey the tumultuous affairs of Elizabeth I.
Carlos Acosta's Carmen premieres at the Royal Ballet, alongside Robbins' Afternoon of a Faun, Balanchine's Tchaikovsky Pas de Deux and Scarlett’s Viscera.
Considering its French title, Sir Frederick Ashton’s ballet La Fille mal gardée is quintessentially English. Laura Morera and Vadim Muntagirov brought the bright spring sunshine from outside to flood the auditorium in delightfully sunny performances.
