Email Artswrap on Twitter Artswrap on Facebook

Ballet

Rhapsody/Tetractys: The Art of Fugue/Gloria, Royal Opera House, London

All eyes are on the latest work from the Royal Ballet’s resident boffin, Wayne McGregor, the centrepiece of a Class A programme. Bach’s mathematical precision and McGregor’s scientific approach should have proved a fruitful union; the progeny of the

The Royal Ballet triple bill, dance review

Wayne McGregor’s new ballet Tetractys – The Art of Fugue has already proved unlucky.

Royal Ballet triple bill, ROH, review

This triple bill is an intriguing celebration of the choreographic art. Two works by Frederick Ashton and Kenneth MacMillan, Rhapsody and Gloria, are set either side of a new piece, Tetractys - The Art of Fugue, by Wayne McGregor.

Wayne McGregor: ballet meets maths

It has not been easy to reach Wayne McGregor, the Royal Ballet’s resident choreographer, but no wonder.

The Prince of the Pagodas - Birmingham Royal Ballet

Through a lonely childhood the Princess Sakura mourns the death of her brother and the slow disintegration of her once allpowerful father the Emperor of the Chrysanthemum Throne, who, broken by the death of his son, allows his new wife to take control of

The Prince of the Pagodas - review

It's more than 50 years since Benjamin Britten composed his mysterious and beautiful ballet score The Prince of the Pagodas, yet like Sleeping Beauty, which it references, Pagodas is still waiting for the right choreographer to bring it fully alive.

The world of ballet dancer Edward Watson

Ballet dancer Edward Watson talks to Jessica Salter about boarding school, injuries and redhead moments.

The Night Ball - balletLORENT - Tour

Celebrating the beauty and intimacy of social dancing The Night Ball is a truly unforgettable experience influenced by countless movement styles from Breakdancing to Quickstep. Accompanied by one of balletLORENT’s famously eclectic and inspired soundtra

Hansel and Gretel, Linbury Studio, London – review

Liam Scarlett’s dances arise felicitously from their scores but the drama here is long-winded.

Giselle Live, Royal Ballet, review

"When I step onto the stage, I believe I am Giselle,” says Natalia Osipova. And so do we, oh, so do we.