Carlos Acosta felt inclined to make a statement about the younger generation, but it doesn't contain any truth
No pain, no gain.
Dancer and two co-defendants found guilty of attack which almost blinded the company’s artistic director Sergei Filin
Patsy Swayze, who died on 16 September at the age of 86, was a choreographer and dance instructor and the mother of the late actor Patrick Swayze. Her credits include such films as Urban Cowboy and Thelma and Louise, and she was also the founder and director of the highly acclaimed Houston Jazz-Ballet Company as well as teaching at the University of Houston for 18 years.
The 48-year-old said he hopes to come back 'bigger, better and stronger'
When ex-Bolshoi Ballet stars Natalia Osipova and Ivan Vasiliev dance, stunned gasps rise up from the theatre: a collective “oh” of wonder and delight. Returning for a guest appearance with their former company, Vasiliev and Osipova give the Bolshoi’s London season an astonishing boost, as high and exhilarating as their soaring jumps. They lift everything around them.
Carlos Acosta is a generous host. Classical Selection, a programme celebrating the ballet star’s 40th birthday, is much more substantial than most galas. Looking back over his own career, Acosta also makes the most of his colleagues from The Royal Ballet. It’s a lavish but surprisingly intimate evening, with superb dancing, live music and a friendly sense of scale.
Some shows just seem to be doomed. On opening night, the Russian Seasons of XXI Century dropped one production due to injury, then added an unscheduled interval while they tried to fix the lighting. Technical hitches aside, it was a ramshackle night of dubious revivals and recorded music. The bright spot was British-born guest star Xander Parish, dancing with bold conviction.
Jealousy, enmity, passion ... and then the dancing starts
He was the Royal Ballet's youngest male principal at 21 and danced with Dame Margot Fonteyn
Five years from now, popular cinema may have shaken off its infatuation with 3D, but for the moment, the movers and shakers are in thrall to its peculiar approximation of the way the eye sees things for real.
History rarely supplies plots for full-evening ballets, and with good reason. Dance tends to be strong on feeling, weak on facts. As George Balanchine once drolly observed, ballet has no way of saying “this is my mother-in-law”.
The 26-year-old formerly danced for the Bolshoi Ballet
Laurencia, which continues the Mikhailovsky Ballet’s London season, is a curious hybrid. The Spanish dances, castanets and local colour suggest the exotic ballets of the 19th century, with the addition of a Soviet-friendly tale of a peasant uprising. Natalia Osipova and Ivan Vasiliev make sensational rebel leaders, drawing the mix together.
Natalia Osipova suddenly launches herself sideways, sailing through the air to land in the arms of Ivan Vasiliev, half a stage away. The Mikhailovsky Ballet’s Don Quixote is full of impossible feats, performed with swaggering charm.