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2009-2010 Season

The World We Live In

by Linda on March 2, 2010

The Royal Ballet’s latest triple bill is a rare combination of three recent ballets,  all done by living choreographers. It includes young Jonathan Watkins’ brand new piece As One. Here’s what each Bag Lady thought of his vibrant debut in the Covent Garden main stage: 

Emilia says:
If you still don’t have a ticket for [...]


Tremble for my Beloved

by Linda on February 14, 2010

The latest run of Romeo and Juliet continues, each cast bringing a different interpretation and/or accentuating different aspects of physicality. Kenneth MacMillan’s expressive choreography suits so many different types of dancers: from the lyrical to the technician; from young promising soloists who can emphasize naïveté to form a realistic portrayal of a young couple in [...]


Meet Me On the Equinox

by Emilia on January 15, 2010

It’s been over 2 years since Alina Cojocaru danced a MacMillan ballet at Covent Garden. While the public in Washington DC and Havana were able to see her Manon last summer, Londoners who had been dreaming of seeing her in Mayerling at the start of the autumn season had to hold their breaths a little [...]


The Inner Light

by Linda on November 7, 2009

Triple bills are a great opportunity to discover rarer ballets along with new works, an essential ingredient in preserving the future of this art form. The Royal Ballet’s latest features a modern and sizzling combination well suited to those seeking refuge from an evening of tutus and tiaras.  It opens with Agon, Balanchine’s iconic work [...]


Young Lust

by Linda on October 29, 2009

Our Mayerling crusade continues with new casts, some debuts and thus interesting new takes on MacMillan’s iconic characters. There are very few lead roles that challenge a danseur’s technique, stamina and dramatic skills as does Crown Prince Rudolf and for Rupert Pennefather to have been offered the opportunity to dance it at such young age [...]


Human Nature

by Linda on October 9, 2009

Mayerling may not  be for everyone, but it is an undeniable example of how ballet can go beyond technical prowess or fairy-tale narrative, geometrical patterns or musical convention. Kenneth MacMillan’s work reaches for the core of human emotions, both the good and the bad, digging deep into the grittiest, the most horrific and perverse of [...]


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