Sunday, October 3

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A review of Georgina Pazcoguin's "Swan Dive" by Daisy Goodwin in The Sunday Times.

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After all, at that time of long skirts, the ballet was one of the few places where the Victorian gent could see a girl’s legs. Even operas at the time would often have a ballet halfway through to keep the male punters happy. Ballet may be the dream of little girls, but it has always been made under the male gaze. And while the stage-door johnnies of Degas and Toulouse-Lautrec’s world no longer linger outside the theatre, as Georgina Pazcoguin’s memoir Swan Dive reveals, a ballet company is still a place where women (and men) are objectified.

 

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  A review of English National Ballet in "Creature" by David Jays in The Sunday Times.

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David Jays is annoyed at puzzling over plot points when so much invited total immersion

Bruce Marriott reviews "Creature" for DanceTabs.

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If you like dance as cryptic crossword or enjoy PhD analysis of what is happening on stage, there may be something in Creature for you. Alternatively, you might take the view that the creative team just lost the plot and didn’t really think about the audience, most of whom are out for a night of entertainment.
 

 

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A review of "Ida Rubinstein: the Final Act" by Jann Parry for DanceTabs.

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Bronislava gets no mention in Holder’s play, and nor does Frederick Ashton, who joined the company in 1928-9. Maurice Ravel puts in an appearance, portrayed by Darren Berry playing Boléro (called Fandango when it was commissioned) on Madame’s piano. Were eminent composers and artists in thrall to her or her money? She took the lead in every production until 1934, ‘hauling herself up on pointe’ well into her 40s, according to Ashton. Ravel and Stravinsky had to confine their comments to praising the beauty of Madame’s gestures. The company was known to dancers as La Compagnie des répétitions de Mme Ida Rubinstein – the Company of Rehearsals – because they spent more time preparing than performing. Ida suffered from her nerves, a narcissist fearful of criticism.