The Royal Ballet's latest triple bill has a happy beginning and a sad ending and in the middle there's Wayne McGregor's new piece, Tetractys, an emotionally-neutral blank sheet on which you can write your own feelings - or more likely, your own thoughts.
Tag - Sarah Lamb
Gallery by Dave Morgan...
Members of The Royal Ballet, including Principals Edward Watson, Lauren Cuthbertson, Sarah Lamb and Rupert Pennefather, will be performing at a unique gala evening on Sunday 2 Feb in aid of Ghanaian charity Ashanti Development.
Fascinating to see the Royal Ballet’s production of Balanchine’s Jewels not long after the Bolshoi’s account at the Royal Opera House in summer. Unlike the Russians, the Royal Ballet dancers understand the different period conventions of the three ‘acts’...
The Royal Ballet’s autumn season triple bill offered very different ways of presenting bodies in space: anatomical studies in an architectural limbo (Chroma); flying figures in constant flux (The Human Seasons); a tribal community following ritual patterns (The Rite of Spring).
At this stage, Raven Girl seems a work in transition. Its longueurs need tightening, an inexplicable ‘19th century couple’excised, solos for important characters expanded, and more light thrown on the goings-on.
6 pictures by Dave Morgan...
Watson’s Rudolf is at the end of his tether: sex is a drug, suicide his only release. ...This formidable cast will be seen in a live cinema screening from the Royal Opera House on 13 June.
...though I don’t believe it’s a great work of art, there’s no denying that it’s fun.
This triple bill, with two world premieres, shows how ably choreographers 85 years apart can refresh the language of classical ballet without distorting it beyond recognition.
It's the Royal Ballet's varied and unique repertoire that has kept me loyal to the company through some very thin times as well as the golden seasons, and this programme is a nice example of what a flick through its back - catalogue can produce.
It’s an interesting evening, showing both choreographer and company at their best and at somewhat less than that.
After the urban angst of Infra, Fool’s Paradise concludes the evening on a sigh of pleasure. This triple bill is proof indeed that contemporary ballet is alive and thriving.
Seeing the programme twice confirmed my initial impression that Trespass is the best-wrought work. The other two ballets are interesting as concepts rather than as polished productions. But the programme’s emphasis on creativity and collaboration means that Monica Mason’s farewell contribution to the art form in which she has invested her considerable energy will carry on germinating ideas long...
It is a fine selection which illustrates the variety of the Royal’s heritage works, which must beg the question how well are they are danced now...
This is turning out to be a very good season for Kenneth MacMillan's Song of the Earth. We saw a deeply moving interpretation from Scottish Ballet at Sadler's Wells a couple of months ago, and last night, as the second half of a Royal Ballet double bill, it again looked like a masterpiece.