Stuttgart Ballet’s new family-friendly Nutcracker
By Edward Clug, with sets and costumes by the acclaimed Jürgen Rose. And it’s the 85-year-old Rose’s designs that stick most in the memory
By Edward Clug, with sets and costumes by the acclaimed Jürgen Rose. And it’s the 85-year-old Rose’s designs that stick most in the memory
Bridget Briner’s complex, impressive version that relocates the story and tells it from the perspective of Livia, one of Cinderella’s stepsisters
Modern yes, but still a ballet driven by emotions and imperfect people…and that in Act II especially, touches in all the right places
Outstandingly performed, sadness and melancholy pervades in Pérez’s intense, magnetic work that puts a new face on Shakespeare’s drama.
Complex and a real puzzle, for a while, Spuck’s ballet is very disorienting although it does become increasingly clear as the familiar starts to emerge
The setting may be updated but this is very much a Giselle still full of powerful feelings that reach out and touch
Simply too much to absorb in one viewing, but the brilliant stage pictures and the fine performances make for total immersion in thrilling theatre
Two of Jerome Robbins’ most popular ballets and one of Balanchine’s most enjoyable. What’s not to like?
Surreal queerness, limitless imagination, kinky fantasies, mystical visions, loud, monotonous techno, kitschy excesses…and a pinch of occultism
Mayerling in London and Paris. “Muntagirov is a rare Rudolph, one whose decline is as agonizingly real as it is exquisitely danced.”
A feast of dance, music and colourful costumes with the added bonus of Madeleine Woo and Dmitry Zagrebin in the roles of Kitri and Basilio