The American ballet critic, Arlene Croce, described Antony Tudor’s ballet, The Leaves are Fading, as “a wistful attempt at a
From her first entrance as a young woman in love, until her last steps towards her grave, Ako Kondo was
I would, if I could, take a magic carpet ride to several continents and at least a dozen theatres to
Aristotle thought that the essence of theatrical tragedy is the empathic response of the audience who can feel the agony
Before Alina Cojocaru left the Royal Ballet she told me she felt constrained at Covent Garden and found solace as
When Wayne Eagling was artistic director of English National Ballet he feared that the young dancer he mentored, Vadim Muntagirov,
Early next year, Ethan Stiefel, the artistic director of the Royal New Zealand Ballet, will take his company back to
by Annie Carroll It must be nice to finish first in a race. I imagine that each time Michael Phelps
With the Paris Opera Ballet in Sydney in January/February and the Bolshoi Ballet in Brisbane in May/June, 2013 is set
Just four years into his four-decade long artistic directorship of the Hamburg Ballet, John Neumeier created A Midsummer Night’s Dream.