STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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Concerto/Enigma Variations/Raymonda Act III, Royal Opera House
Triple bill to treasure from Royal Ballet
Concerto/Enigma Variations/Raymonda Act III
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
IN WHAT’S something of a history lesson, this mixed bill perfectly showcases the Royal Ballet’s matchless skill and rich heritage.
Works by the company’s founding choreographer Frederick Ashton and his successor Kenneth MacMillan are completed by Rudolf Nureyev’s version of Marius Petipa’s final act of the Imperial Russian classic Raymonda.
MacMillan’s Concerto, set to Shostakovich’s piano concerto No. 2, is awash with vibrancy and colour as dancers in orange and lemon costumes leap in jetes across the stage with a synchronised grace.
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