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[Mme. Hermine]

A review of the Royal Ballet from Jenny Gilbert:

http://www.independe...on-6268422.html

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Regardless where you stand on classical dance – sold on it, or sceptical – there may never be a better time to see the Royal Ballet.

Dame Monica Mason hands over the reins at the end of this season (that's June, in dance company-speak), and current programmes are packed with her favourite works, befriended over the course of a career spanning more than five decades.  

[Mme. Hermine]

Luke Jennings reviews the Royal Ballet for The Guardian:

http://www.guardian....w?newsfeed=true

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Ballets have cyclical lives. In the early years of the last century, Giselle was considered so old-fashioned that Diaghilev hesitated to present it in Paris; today it is one of the most popular works in the canon. Frederick Ashton's 1968 Enigma Variations, an elegiac group portrait of Edward Elgar and his friends, seems to be coming to the end of its current cycle.

[dirac]

A review of New York City Ballet's Nutcracker by Brian Seibert in The New York Times.

http://www.nytimes.c...oln-center.html

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It’s happening for the adult dancers too, though they have more room for interpretation, especially in the all-dance second act. On Friday, Tiler Peck’s Dewdrop, leader of the flowers, was the antithesis of rote. She knows the music, we know the music, and so she can play — rushing ahead here, lingering there, arriving at her positions so clearly that she can afford to comment and color. Her performance of the role is now both audacious and assured, amazingly controlled and just on the edge of too much, even for the Land of Sweets.