MARK TURNER wallows in the virtuosity of Swansea Jazz Festival openers, Simon Spillett and Pete Long
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Cinderella, Royal Albert Hall, London
English National Ballet have a ball with a classic fairy tale
Only ugly inside: Emma Hawes and Katja Khaniukova in Cinderella
[Laurent Liotardo] 
PAUL DONOVAN recommends three new books that explore the human relationship with nature
Doomed adolescents, when the missing person is you, classic whodunnit, and an anti-capitalist eco-thriller
WILL STONE takes a ticket to indie disco heaven, but misses the rarely performed tunes
Reviews of new releases by Jens Lekman, Big Thief, and Christian McBride Big Band
TOM PIERSCIONEK recommends a remarkable series of interviews with those few and brave Israeli citizens who refuse to do military service
THE MUCH-LOVED Cinderella is a story that’s been retold from cradle to grave, with its origins going back beyond the Brothers Grimm as far as ancient Greece.
A favourite panto perennial in Britain, it’s an international folklore classic that’s been adapted for film, television, opera, musical and ballet and undergone countless varied interpretations since its first staging in 1804.
Yet it was Sergei Prokofiev’s score, premiered in 1945 at the Bolshoi theatre in Moscow, that became the mainstay of future ballet productions and gave choreographers free creative rein with the storyline.
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