Luke Jennings in The Guardian's blog.
That this hokum should be thought appropriate for an adult ballet audience is revealing. Try pitching it at a book publisher, TV exec or producer of commercial theatre and you'd be shown the door. Ballet's gatekeepers, however, tend to almost infinite credulity, and this, to a large extent, is why there are so many bad narrative ballets. Here in the UK there are dance directors who understand the nature and importance of story – Matthew Bourne, ZooNation's Kate Prince, the Royal Ballet's Will Tuckett– but many more who don't. And so we get slow-motion car crashes like last year's Alice's Adventures in Wonderland, created for the Royal Ballet by Christopher Wheeldon, and Ocean's Kingdom.
Related item in The Economist's blog.