At a dress rehearsal on the stage of the Royal Opera House in the summer of 1954, a woman of sixty-nine in ordinary day clothes…
By Sara Bright In 1965, at the Württemberg State Theatre in Stuttgart, John Cranko unveiled a ballet that had no right to exist. The intendant…
By Sara Bright When Natalia Osipova swept onto the Covent Garden stage as Tatiana in early June, something shifted in the auditorium. The final run…
By Sara Bright The enduring ambition of the visual arts has often been to seize a moment, to freeze an instant in perpetuity. Yet, paradoxically,…
By Anne Fry In the resonant chambers of contemporary UK club culture, a distinct frequency is cutting through the noise – fast, insistent, relentlessly propulsive.…
By Sara Bright When shadows stretch across the London Coliseum stage, and bodies press urgently against a monolithic wall, Akram Khan’s Giselle announces itself as…
By Sara Bright In an age of imperial collapse and artistic revolution, Anna Pavlova transformed ballet from a European courtly tradition into a universal language…
By Sara Bright The Royal Ballet School, a beacon of classical dance excellence, has reached a legal settlement with former student Ellen Elphick, whose allegations…
By Anne Fry Few works in the realm of classical music and dance carry the weight of cultural significance like Igor Stravinsky’s The Rite of…
By Sara Bright Under the gilded arches of the Royal Opera House, John Cranko’s Onegin once again graces the stage, a masterpiece that has not…