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Thursday, June 9


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A review of the Royal Ballet in "Like Water for Chocolate" by Rupert Christiansen in The Spectator.


Ghosts are involved, too, as well as dead babies, outbreaks of mass vomiting, revelations in a diary and a hoedown, spanning a 20-year period over a dozen subsidiary characters, three acts and 12 scenes. It is simply more than ballet can handle and Wheeldon is forced to chase the comings and goings in a breathless succession of mimed and danced episodes that contain nothing choreographically substantial or sustained until a bodice-ripping last pas de deux for the ultimately united Tita and Pedro that relies heavily on MacMillan for its inspiration.


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