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https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/19fe4e00-0204-4b2f-b05b-153698336fa1/IMG_7987.jpg Essays - The Royal Ballet’s 2024 Festival of New Choreography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/87d86534-edd3-41f3-8c78-5e563e6d94d4/IMG_7990.jpg Essays - The Royal Ballet’s 2024 Festival of New Choreography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/46350c82-7617-42ad-81ae-0b08609b9435/IMG_7991.jpg Essays - The Royal Ballet’s 2024 Festival of New Choreography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a5f9dcdd-39b3-47ca-b32c-9654cae0f3e8/IMG_7995.jpg Essays - The Royal Ballet’s 2024 Festival of New Choreography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/269cb2dc-07d2-40de-a8da-15c00c0f1e86/IMG_7997.jpg Essays - The Royal Ballet’s 2024 Festival of New Choreography 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https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e57d7e2c-0aca-40f7-9284-9c7b63ba0f89/IMG_7508.jpg Essays - Steve Paxton (1939-2024) https://www.alastairmacaulay.com/all-essays/h43twq4a5xd05dn01y2ywk9hkeukwr monthly 0.5 2024-03-06 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6ddf65c8-5093-445e-b47a-8f0a96bac749/IMG_6570.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - page 1 of the October 29, 1936, Sadler’s Wells programme for “Le Lac des Cygnes” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/94737fa3-97ca-4901-9e16-4f96eb541edf/IMG_6571.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - Page 2 of the Sadler’s Wells programme for the October 24 matinee, 1936, performance of “Le Lac des Cygnes” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/47987067-d61a-4022-b959-69b7c78d8953/IMG_6572.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b8b79f84-a6f3-4ddd-978b-61fbbad2f571/IMG_6573.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - Page 4 of the Sadler’s Wells programme for the October 24 matinee, 1936, performance of “Le Lac des Cygnes” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1ab05656-dc00-4532-8b69-31affd8ef8ab/IMG_6575.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4b57291f-d176-4c66-93a8-258e8972bcce/IMG_6576.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - Make it stand out Page 6 of the Sadler’s Wells programme for the October 24 matinee, 1936, performance of “Le Lac des Cygnes” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7d825c7e-dccd-4f02-9184-c4fab95d4db4/IMG_6577.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/75844c97-64cb-43b1-a456-85ea07f03e85/IMG_6578.jpeg Essays - The programme for an October 1936 Sadler’s Wells “Swan Lake” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.alastairmacaulay.com/all-essays/scj8jiz1b10w32tub1guhcmytk8cpn monthly 0.5 2024-08-24 https://www.alastairmacaulay.com/all-essays/hasyureka7sr7cd9b4g50ygna1lcob monthly 0.5 2024-03-06 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/729aae95-532b-45ab-aca0-17614f715524/IMG_4721.jpeg Essays - The Royal Opera’s new “Elektra” - 1.Nina Stemme (Elektra) kneeling to Sara Jakubiak (Chrysothemis) in Christof Loy’s Royal Opera production of Richard Strauss’s “Elektra” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/69de1d44-4025-414a-8afd-2d503a6167cb/IMG_4723.jpeg Essays - The Royal Opera’s new “Elektra” - 2. Lucasz Goliński (Orest) embraces his sister Elektra (Nina Stemme). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/baff5631-cbe2-4c65-826c-ceaf7e47bd47/IMG_4725.jpeg Essays - The Royal Opera’s new “Elektra” - 3. Klytämnestra (Karita Mattila) supports her daughter Elektra (Nina Stemme) in Christof Loy’s new Royal Opera production of “Elektra”. Photograph: Tristram Kenton. https://www.alastairmacaulay.com/all-essays/szsm6lys9ac277djgazozxxifg9p3z monthly 0.5 2024-01-31 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6c3c6175-648d-41e5-9734-5691e447fa0c/IMG_4711.jpeg Essays - Anthony Russell-Roberts (1944-2024) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/351ca614-4b96-42db-8a92-6b1b09b9808f/IMG_4712.jpeg Essays - Anthony Russell-Roberts (1944-2024) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.alastairmacaulay.com/all-essays/fya59hftxq9z1dsvd8c5z0e4ktde70 monthly 0.5 2024-03-06 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7cee43c0-55e4-487d-bfae-d84f122d984b/IMG_4709.jpeg Essays - A faded postcard from Antoinette Sibley - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2d1b3ae2-d549-4352-b5f2-b698c8f0496d/IMG_4710.jpeg Essays - A faded postcard from Antoinette Sibley - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.alastairmacaulay.com/all-essays/rkjkjgps9nhvv8fx9gzttvoztpbads monthly 0.5 2024-03-06 https://www.alastairmacaulay.com/all-essays/paul-taylor-poetic-dramas- monthly 0.5 2026-02-09 https://www.alastairmacaulay.com/all-essays/9c369gof1rjqe1q8rgky2wdimg8cng monthly 0.5 2024-08-24 https://www.alastairmacaulay.com/all-essays/7fwtgtv4kndftjf33aa5q4u96e6h8b monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/49da4b92-716c-4ac7-b632-c2a78026121b/IMG_3982.jpeg Essays - The Richard Jones “Valkyrie” at English National Opera, 2021 - 1: Nicky Spence (Siegmund) and Emma Bell (Sieglinde) in Act One of “The Valkyrie”, English National Opera. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/04947788-ae3d-4889-b681-77d8bcdb495c/IMG_3986.jpeg Essays - The Richard Jones “Valkyrie” at English National Opera, 2021 - 2: Nicky Spence (Siegmund) in Act One of “The Valkyrie”, English National Opera. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2ddffac0-66d3-4dd1-8c55-0b9bf5c2ebbc/IMG_3980.jpeg Essays - The Richard Jones “Valkyrie” at English National Opera, 2021 - 3: Rachel Nicholls (Brünnhilde) in Act Two of “The Valkyrie”, English National Opera. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f2ed0631-bd89-4529-a557-b76d481a5905/IMG_3988.jpeg Essays - The Richard Jones “Valkyrie” at English National Opera, 2021 - 4: Matthew Rose (Wotan) in Act Two of “The Valkyrie”, English National Opera. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5ba70bf2-8a36-4d3c-a1ea-30c3eb7df28a/IMG_3984.jpeg Essays - The Richard Jones “Valkyrie” at English National Opera, 2021 - 5: Brindley Sherratt (Hunding) and Nicky Spence (Siegmund) and Emma Bell (Sieglinde) in Act Two of “The Valkyrie”, English National Opera. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4a33c459-ea3f-41f5-b5ff-6fa342227912/IMG_3979.jpeg Essays - The Richard Jones “Valkyrie” at English National Opera, 2021 - 6: Matthew Rose (Wotan) in Act Three of “The Valkyrie”, English National Opera. In the background, you see some of the Valkyries and (right) Rachel Nicholls (Brünnhilde). Photograph: Tristram Kenton. https://www.alastairmacaulay.com/all-essays/australian-jewels monthly 0.5 2024-08-24 https://www.alastairmacaulay.com/all-essays/hcn5f4ozm26smblw589c1jdlejk5f0 monthly 0.5 2024-01-16 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b4dcbbb7-cd85-4490-bfba-c3a5d5b0b8a8/IMG_3704.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden - 1: Kristin McNally as Carabosse in “The Sleeping Beauty” at Covent Garden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3963f599-f7dc-41fa-ad3e-e4fecd3d0c3d/IMG_3709.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden - 2: Marianela Nuñez as Princess Aurora in the opening sequence of the Rose Adagio in “The Sleeping Beauty”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/601e9ec8-2dd5-47b1-bd6c-5fb548d5e3b7/IMG_3713.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden - 3: Marianela Nuñez as Princess Aurora in preparation for the first balances in the Rose Adagio in “The Sleeping Beauty”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bf4b0cd7-a603-4d33-95af-82d39384c1e1/IMG_3715.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden - 4: Marianela Nuñez as Princess Aurora in the first attitude of the Rose Adagio in “The Sleeping Beauty”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f5a3d9ee-ac39-4191-892b-363d39907812/IMG_3725.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/32ee3688-3871-400a-b250-6d0b14874b6d/IMG_3727.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden - 5, 6: Marianela Nuñez as Princess Aurora regarding the first roses presented to her in the Rose Adagio in “The Sleeping Beauty”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9ea9d177-59fe-4ee9-9ee2-5c5b6c632d28/IMG_3732.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden - 7: Claire Calvert as one of Florestan’s two sisters, dancing Petipa’s Diamond variation amid Frederick Ashton’s Florestan pas de trois, at the Act Three wedding in “The Sleeping Beauty”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bebb982a-c2a6-4d4f-a2f4-a798d6f19d71/IMG_3731.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/28a93a98-61e5-4b95-9651-32cfdcf1c850/IMG_3699.jpeg Essays - The return of “The Sleeping Beauty” to Covent Garden - 8: Marianela Nuñez (Princess Aurora) and Vadim Muntagirov (Prince Désiré) in the concluding image of the Act Three wedding pas de deux in “The Sleeping Beauty”. https://www.alastairmacaulay.com/all-essays/3xf79eqmn75pj1axeawncsyjjx7zah monthly 0.5 2023-08-01 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/466677e0-a161-48ee-833b-51994dfa3e97/IMG_3656.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 1: Yijing Zhang and Brandon Lawrence (Birmingham Royal Ballet) in “Forgotten Land” by Jiri Kylián. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2482a41b-8613-402d-83a7-98841c8c14f4/IMG_3658.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 2: Mathias Dingman and Miki Mizutani (Birmingham Royal Ballet) in “Forgotten Land”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1881f746-6227-4097-bef8-7efb58a30bf0/IMG_3660.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 3: Céline Gittens and Tyrone Singleton (Birmingham Royal Ballet) in Jirí Kylián’s “Forgotten Land”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/78851415-5d65-4602-b01a-8d274e28bef5/IMG_3675.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 4: Birmingham Royal Ballet in Jirí Kylián’s “Forgotten Land”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b881f6ef-649f-4880-b806-0a8b719248d2/IMG_3692.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 5: Céline Gittens and Tyrone Singleton (Birmingham Royal Ballet) in Jirí Kylián’s “Forgotten Land”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/82214b70-0225-4062-ab30-c7882f1a1d7f/IMG_3682.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 6: “Hotel” by Morgann Runacre-Temple (Birmingham Royal Ballet). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6e966224-bd88-40ed-9a33-1fd409d1e17c/IMG_3664.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 7: Matilde Rodrigues in “Hotel”.Photograph : Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/68d3feda-3926-4493-b3a1-c3db1df5a048/IMG_3694.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 8: Three members of the hotel staff perform grand jeté croisé en attitude en avant In Morgann Runacre-Temple’s “Hotel” (Birmingham Royal Ballet). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c6f2364-b2b8-477f-833e-2576b46c3979/IMG_3654.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 9: Uwe Scholz’s “The Seventh Symphony”As danced by Birmingham Royal Ballet. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ee4c5051-aefe-48a2-b129-20d55722f016/IMG_3690.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 10: Birmingham Royal Ballet in “The Seventh Symphony” by Uwe Scholz. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f8a0330c-37cc-4648-ae3b-0a8a5215492a/IMG_3668.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 11: Karla Doorbar and Gus Payne (Birmingham Royal Ballet) in “The Seventh Symphony”. Photograph:Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3a08aac9-ee2a-45ff-8670-18bcb87e56e5/IMG_3671.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 12: Yuki Sugiura and Daria Stanciulescu in “The Seventh Symphony”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/71804df2-97d9-40fd-85b6-592e7d8d9c7e/IMG_3678.jpeg Essays - Birmingham Royal Ballet Went Into The Music - 13: Uwe Scholz’s “The Seventh Symphony”, danced by Birmingham Royal Ballet. Photograph : Johan Persson. https://www.alastairmacaulay.com/all-essays/xrmzkshwbg3hiksxzbm46zd4fdpi8u monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cca52123-8b54-4852-b42d-f81afa0b799c/IMG_3551.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 1: “The Weathering”, Kyle Abraham’s March 2022 creation for the Royal Ballet. Photograph: Robbie Jack (Getty Images). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c2332da-df82-4a90-94fa-f2d0c3c11159/IMG_3562.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 2: “The Weathering”, Kyle Abraham’s March 2022 creation for the Royal Ballet. Photograph: Marilyn Kingwill. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d196b0ae-dfdc-4980-b1d6-1e368b24409b/IMG_3560.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 3: Fumi Kaneko in “The Weathering”. Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f052f9a8-d006-485a-b987-4ec4472b86eb/IMG_3565.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 4: Calvin Richardson in “The Weathering”. Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c34a102-c03e-4555-93ab-99ed63464033/IMG_3559.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 5: Royal Ballet male dancers in “The Weathering”. Photograph: Alastair Muir. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/613778fe-e415-4281-be82-308d166749d7/IMG_3567.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 6: The Royal Ballet dancing Crystal Pite’s “Solo Echo”. Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a5a424ef-ed65-4c3c-8213-dec05f4edc12/IMG_3569.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 7: Matthew Ball and Gina Storm-Jensen in Christopher Wheeldon’s “D.G.V: Danse à grande vitesse”. Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/65768a55-aaff-49d1-b96a-df0aa2d3697c/IMG_3579.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 8: Matthew Ball and Gina Storm-Jensen in Christopher Wheeldon’s “D.G.V: danse à grande vitesse”. Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/077a862e-ef4b-4749-98ac-0c50512aaab6/IMG_3583.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 9: William Bracewell and Yasmine Naghdi in Christopher Wheeldon’s “D.G.V.: danse à grande vitesse”. Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5cbaed84-c8d5-414c-ac2b-32982b1fbd0b/IMG_3553.jpeg Essays - A Royal Ballet triple bill: Kyle Abraham, Crystal Pite, Christopher Wheeldon - March 2022 - 10: The Royal Ballet dancing Christopher Wheeldon’s “D.G.V.: Danse à grande vitesse”. Photograph: Robbie Jack (Getty). https://www.alastairmacaulay.com/all-essays/pfbj0ran9aucg1mturm5ubigiocr50 monthly 0.5 2023-07-31 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aa0560f3-b93e-465e-a80f-9a72e90a2343/IMG_3478.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 1: Der Nussnacker (The Nutcracker) appears to be spanking Jolanthe (Iolanta). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a1ac6045-bf71-4873-83b5-9defb37019e5/IMG_3483.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 2: Der Nussnacker (The Nutcracker) with Jolanthe (Iolanta). Photograph: Barbara Pálffy. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fb2a2535-92b3-49dd-9d46-0e4cdffe3866/IMG_3485.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 3: Der Nussnacker (The Nutcracker) with Jolanthe (Iolanta). Photograph: Barbara Pálffy. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fe472b62-5749-483d-ab49-e62f515ec959/IMG_3488.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 4: Olesiya Golovneva (Jolanthe/Iolanta) between Annelie Sophie Müller (Laura) and Anita Götz (Brigitte). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/280fc4ad-51f6-414b-8562-3f6909832e33/IMG_3492.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 5: Mila Schmidt (Jolanthe/ Iolanta) with sundry “Nutcracker” characters. Photograph: Ashley Taylor. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0c96ec42-55c9-4c23-9301-b048c9edcb63/IMG_3498.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 6: Georgy Vasiliev (Graf/Count Vaudémont), Olesiya Golovneva (Jolanthe/Iolanta), Szymon Komasa (Ibn Hakia). Photograph: Barbara Pálffy. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0e36c81d-ce63-4945-9b8b-47d9e0073324/IMG_3480.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 7: “Jolanthe und der Nussnacker” at the Vienna Volksoper. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0e0498f8-ce96-40f0-800b-5c04df3424d3/IMG_3482.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - 8: “Jolanthe und der Nussnacker” at the Vienna Volksoper. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f996405c-2dec-48ff-b6f3-5df706621cc5/IMG_3501.jpeg Essays - Tchaikovsky’s “Iolanta” and “The Nutcracker” double bill re-mixed at the Vienna Volksoper, 2022 - Make it stand out 9: Mila Schmidt (Jolanthe) and Felipe Viera (the Nutcracker/der Nussnacker). Photograph: Ashley Taylor. https://www.alastairmacaulay.com/all-essays/0kdgazml1wd6qlzn2m9ho9wyq35i78 monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3a074075-d6b3-481b-b6f8-06fd8528d2aa/IMG_3440.jpeg Essays - “Mayerling” at forty-four - 1: The Empress Elisabeth and her ladies-in-waiting in Kenneth MacMillan’s “Mayerling”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8a17092d-dca5-4d88-9eaf-826fefae167a/IMG_3438.jpeg Essays - “Mayerling” at forty-four - 2: Francesca Hayward (Princess Stéphanie) and Ryochi Hirano (Crown Prince Rudolf) in the bridal-night pas de deux that ends Act One of Kenneth MacMillan’s “Mayerling”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dc789104-f0d1-44a0-8439-4645217ac690/IMG_3434.jpeg Essays - “Mayerling” at forty-four - 3: Marianela Nuñez as Mitzi Caspar in Act Two Scene One of Kenneth MacMIllan’s “Mayerling”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fa9c90b2-c3f3-41cd-9836-77391789cb87/IMG_3429.jpeg Essays - “Mayerling” at forty-four - 4: Natalia Osipova (Mary Vetsera). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a9fa6334-0f11-4d33-b409-5b2b63a8e77d/IMG_3436.jpeg Essays - “Mayerling” at forty-four - 5: Natalia Osipova (Mary Vetsera) with Ryochi Hirano (Crown Prince Rudolf). Photograph: Tristram Kenton. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fc26a71c-3646-4b77-af88-64b71ebf2d44/IMG_3424.jpeg Essays - “Mayerling” at forty-four - 6: Natalia Osipova (Mary Vetsera) with Ryochi Hirano (Crown Prince Rudolf). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0beb05d6-6bff-4422-bec4-70104b41661e/IMG_3422.jpeg Essays - “Mayerling” at forty-four - 7: Natalia Osipova (Mary Vetsera) with Ryochi Hirano (Crown Prince Rudolf). Photograph: Tristram Kenton. https://www.alastairmacaulay.com/all-essays/vl6urj0upgtw0x9rzp7xkv96i7nkd3 monthly 0.5 2023-07-28 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/50a4759e-0fc3-4986-9347-f86b05aa2ab5/IMG_2922.jpeg Essays - “Word-Play”, politics and words at the Royal Court Theatre Upstairs - 1: Simon Manyonda in one scene of “Word-Play”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/67a35990-c632-40f1-913a-5f69b2312627/IMG_2923.jpeg Essays - “Word-Play”, politics and words at the Royal Court Theatre Upstairs - 2: Simon Manyonda, Kosar Ali, and Sirine Saba in one Number Ten Downing Street press office scene of “Word-Play”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/76d4b162-7622-49ba-8ebe-b5518647f5a3/IMG_2925.jpeg Essays - “Word-Play”, politics and words at the Royal Court Theatre Upstairs - 3: Kosar Ali in one scene of “Word-Play”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c0fed9ba-ef60-411b-ad08-98f86a337502/IMG_2926.jpeg Essays - “Word-Play”, politics and words at the Royal Court Theatre Upstairs - 4: Kosar Ali in one scene of “Word-Play”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8b5e2c0b-b7ae-48b9-a97e-8a0490f5838a/IMG_2928.jpeg Essays - “Word-Play”, politics and words at the Royal Court Theatre Upstairs - 5: YusraWarsama in one scene of “Word-Play”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/176e4770-3f01-475d-853f-387cd7e29f12/IMG_2929.jpeg Essays - “Word-Play”, politics and words at the Royal Court Theatre Upstairs - 6: Another Downing Street press office scene of “Word-Play”. Left to right: Yusra Warsama , Issam Al Ghussain, Kosar Ali, Simon Manyonda, Sirine Saba. Photograph: Johan Persson. https://www.alastairmacaulay.com/all-essays/qbltga51w0tufwv4dwwa826988yy9h monthly 0.5 2023-06-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/29afb13e-91c5-43f0-bbfd-efc5f39e7d8f/IMG_0875.jpeg Essays - A viewing of the world’s oldest ballet in more or less current repertory: Vincenzo Galeotti’s “Amors og Balletmesterens Luner” (“The Whims of Cupid and the Dancing Master”) - 1: The 1986 Danish stamp commemorating the bicentennial of “Amors og Balletmesterens Luner” (“The Whims of Cupid and the Dancing Master”) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/09effad3-fbfa-471b-bd29-c6b530bbbfae/IMG_0876.jpeg Essays - A viewing of the world’s oldest ballet in more or less current repertory: Vincenzo Galeotti’s “Amors og Balletmesterens Luner” (“The Whims of Cupid and the Dancing Master”) - 2: Inge Sand as Amor/Cupid in a 1947 revival of “The Whims of Cupid and the Dancing Master” as danced by the Royal Danish Ballet at Covent Garden. Photograph by Roger Wood https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/49010f6d-0d51-4dc6-8692-46921b7d863a/IMG_0877.jpeg Essays - A viewing of the world’s oldest ballet in more or less current repertory: Vincenzo Galeotti’s “Amors og Balletmesterens Luner” (“The Whims of Cupid and the Dancing Master”) - 3. Gerda Karstens and Ole Palle Hansen as the Quaker Couple in a 1947 revival of “The Whims of Cupid and the Dancing Master” as danced by the Royal Danish Ballet at Covent Garden. Photograph by Roger Wood. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/03db32ef-82dc-41e3-83ed-8be33f78bedf/IMG_0878.jpeg Essays - A viewing of the world’s oldest ballet in more or less current repertory: Vincenzo Galeotti’s “Amors og Balletmesterens Luner” (“The Whims of Cupid and the Dancing Master”) - 4: Elise Landsy and Arne Melchert as the pair of old gentlefolk in a 1947 revival of “The Whims of Cupid and the Dancing Master” as danced by the Royal Danish Ballet at Covent Garden. Photograph by Roger Wood. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5b019fc1-4d32-4a5f-a656-cf8731a555fd/IMG_0879.jpeg Essays - A viewing of the world’s oldest ballet in more or less current repertory: Vincenzo Galeotti’s “Amors og Balletmesterens Luner” (“The Whims of Cupid and the Dancing Master”) https://www.alastairmacaulay.com/all-essays/glyndebournes-dialogues-des-carmlites-shocking-and-musically-thrilling monthly 0.5 2024-09-03 https://www.alastairmacaulay.com/all-essays/1o8pdcp7ywijehnulpa0qgyn6fj5fw monthly 0.5 2023-06-08 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/94c629aa-75ee-4831-a5b4-3bfcb4186590/IMG_0103.jpeg Essays - The glamour and style of Shyām Dattani - 1: Shyam Dattani, post on Instagram https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/065088b1-5db2-48ca-a09d-2a97e2f8449c/IMG_0102.jpeg Essays - The glamour and style of Shyām Dattani - 2: Shyam Dattani, post on Instagram https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/52ca1f8e-6cea-4a3a-867b-0c1f4ed38e24/IMG_0107.jpeg Essays - The glamour and style of Shyām Dattani - 3: Instagram advertisement for Dattani’s “Dvihīna”. In performance, the four dancers wore different costumes. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/73d5880f-22d2-4a6c-a23d-063b9f8da1cf/IMG_0108.jpeg Essays - The glamour and style of Shyām Dattani - 4: Shyam Dattani, in rehearsal for “Dvihīna” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/99a1541a-b2c4-4f39-8bb7-02eec44d0a67/IMG_0115.jpeg Essays - The glamour and style of Shyām Dattani - 5: Tanveer Alam, foreground https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/00117ca2-4f9a-43e9-85c0-98ccf0d3199b/IMG_0114.jpeg Essays - The glamour and style of Shyām Dattani - 6: Tamveer Alam, jumping; Meera Patel and Shyam Dattani, kneeling left; Anjali Tanna, kneeling right. Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bd31d273-fbe0-4053-80ed-b954f5ad8b46/IMG_0112.jpeg Essays - The glamour and style of Shyām Dattani - 7: Meera Patel, foreground https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c710d232-8800-4fb1-9af8-ea0071a86995/IMG_0109.jpeg Essays - The glamour and style of Shyām Dattani - 8: Anjali Tanna, kneeling right https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4537997a-87a0-49b9-8cf7-a5eb949b4788/IMG_0111.jpeg Essays - The glamour and style of Shyām Dattani - 9: “Dvihīna” in rehearsal. Left to right: Anjali Tanna, Shyam Dattani, Tanveer Alam, Meera Patel. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9e10be82-eb73-499e-8d5f-7640d2b258b3/IMG_0110.jpeg Essays - The glamour and style of Shyām Dattani - 10: “Dvihīna” in rehearsal. Left to right: Tanveer Alam, Anjali Tanna, Shyam Dattani, Meera Patel. https://www.alastairmacaulay.com/all-essays/m5y29dsio04vwopgerao06x0tdbp6k monthly 0.5 2023-05-28 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/77714776-29bc-4af3-8605-63b8a725d070/IMG_8884.jpeg Essays - “Les Plaisirs du bal,” Watteau, the minuet, and the wedding pas de deux of “The Sleeping Beauty” - 1: “Les Plaisirs du Bal” (1715-1717), by Jean-Antoine Watteau (1681-1724), Dulwich Picture Gallery https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a1a9a7a2-8146-4552-a2c2-a11c041845aa/IMG_8885.jpeg Essays - “Les Plaisirs du bal,” Watteau, the minuet, and the wedding pas de deux of “The Sleeping Beauty” - 2: Central dance detail of “Les Plaisirs du Bal” (1715-1717), by Jean-Antoine Watteau (1681-1724), Dulwich Picture Gallery. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/763dd559-9012-49cb-9aa1-b0a4d40a9b9c/IMG_8962.jpeg Essays - “Les Plaisirs du bal,” Watteau, the minuet, and the wedding pas de deux of “The Sleeping Beauty” - 3: Margot Fonteyn as Princess Aurora in “The Sleeping Beauty” with David Blair as her prince. Royal Ballet, 1963. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/da88b13e-16f6-4e2a-9b1a-775c6ed7067a/IMG_8966.jpeg Essays - “Les Plaisirs du bal,” Watteau, the minuet, and the wedding pas de deux of “The Sleeping Beauty” - 4: Antoinette Sibley and Peter Schaufuss in the same “Sleeping Beauty” wedding pas de deux, 1985, TV performance. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3a41ebff-192a-48d3-b59a-14eca1c9225d/IMG_8967.jpeg Essays - “Les Plaisirs du bal,” Watteau, the minuet, and the wedding pas de deux of “The Sleeping Beauty” - 5: Antoinette Sibley and Peter Schaufuss in the same “Sleeping Beauty” wedding pas de deux, 1985, TV performance, a moment later. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/32272946-1650-4948-9a1e-a8b0d2e88f16/IMG_8969.jpeg Essays - “Les Plaisirs du bal,” Watteau, the minuet, and the wedding pas de deux of “The Sleeping Beauty” - 6: Antoinette Sibley and Peter Schaufuss in the same “Sleeping Beauty” wedding pas de deux, 1985, TV performance. Another second on, as the main melody commences. https://www.alastairmacaulay.com/all-essays/49mteq4guyvuja1cqn9hgl3g9bbnw2 monthly 0.5 2024-08-24 https://www.alastairmacaulay.com/all-essays/nizt7mrwy548ml7hzgf2vsacdpqcuc monthly 0.5 2023-05-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c74592f2-aa05-4e9c-a038-4105eae28eac/IMG_8132.jpeg Essays - Impermanence, the allure of 1913-1939, and fascinating fascism - 1: “Venus”: Filippo Marinetti jumps. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9680814c-8bb7-4de0-bd79-3510ac0fa73d/IMG_8135.jpeg Essays - Impermanence, the allure of 1913-1939, and fascinating fascism - 2: “Venus”: ensemble. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8e049712-2881-4d73-b1a0-c340e2466e74/IMG_8134.jpeg Essays - Impermanence, the allure of 1913-1939, and fascinating fascism - 3: “Venus”: ensemble . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bfaa872a-5ae1-4b69-84ce-ae23c8640913/IMG_8129.jpeg Essays - Impermanence, the allure of 1913-1939, and fascinating fascism - 4: George Monbiot in “Feral”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/92464304-d5f0-4e7b-99d5-673de500c179/IMG_8126.jpeg Essays - Impermanence, the allure of 1913-1939, and fascinating fascism - 5: “Cosmic Yoghurt”: Roseanna Anderson, Mayowa Ogunnaike, Obama Panchenko. https://www.alastairmacaulay.com/all-essays/yezfvt0gnlhe37hkglf6eapxmnxlak monthly 0.5 2023-05-21 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/79dc45c0-1ddf-411f-ad35-3620d130f501/IMG_8348.jpeg Essays - Niels Kehlet (1938-2023) - 1: Niels Kehlet in August Bournonville’s “Flower Festival in Genzano” pas de deux (1858). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9b0fc6c6-09fe-4ad7-8048-b15c0de0efd8/IMG_7063.jpeg Essays - Niels Kehlet (1938-2023) - 2: Niels Kehlet in August Bournonville’s “Flower Festival in Genzano” pas de deux (1858). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a72fecc1-910d-4524-b37a-96c8ce034b69/IMG_7065.jpeg Essays - Niels Kehlet (1938-2023) - 3: Solveig Østergard and Niels Kehlet in August Bournonville’s “Flower Festival in Genzano” pas de deux (1858). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a6a267e3-e9d1-4787-8b3f-2a1d1ec68642/IMG_8327.jpeg Essays - Niels Kehlet (1938-2023) - 4: Niels Kehlet and Sorella Englund as James and the Sylph in a 1974 performance of August Bournonville’s 1836 version of “La Sylphide”. Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/320826bc-ec0d-4c26-8b99-c44bb59dde8b/IMG_8328.jpeg Essays - Niels Kehlet (1938-2023) - 5: Lilian Jensen (Veronica), Niels Kehlet (Gennaro), Sorella Englund (Teresina), Henning Kronstam (Aleppo), and Ole Suhr (Fra Ambrosio) in a 1975 performance of August Bournonville’s “Napoli” (1842). Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/53e3188f-db19-474d-bd69-c70256929abf/IMG_7069.jpeg Essays - Niels Kehlet (1938-2023) - 6: Anne-Marie Vessel and Niels Kehlet in a 1979 performance of August Bournonville’s “The Kermesse at Bruges” (1851) Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c680365c-0d11-4329-be0a-5c14edc5c4de/IMG_8330.jpeg Essays - Niels Kehlet (1938-2023) - 7: Niels Kehlet and Kirsten Simone as Geert and Fru von Everdoen in a 1979 performance of August Bournonville’s “The Kermesse at Bruges” (1851). Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1a628660-ffe3-4f20-a243-d29ad50293fb/IMG_8331.jpeg Essays - Niels Kehlet (1938-2023) - Make it stand out 8: Mette-Ida Kirk (Hilda) and Niels Kehlet (Diderik) in a 1979 performance of August Bournonville’s “A Folk Tale” (1854). Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ac5a27be-8c37-4f22-9c9b-e2650569d6f6/IMG_8335.jpeg Essays - Niels Kehlet (1938-2023) - 9: Niels Kehlet and Arne Bech in a 1973 performance of August Bournonville’s “Far from Denmark” (“Fjernt fra Danmark”). Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/70520b6d-7a2c-468b-8856-b6bc997d312c/IMG_8346.jpeg Essays - Niels Kehlet (1938-2023) - 10: Soloists of the Royal Danish Ballet in 1979 in New York: Arne Villumsen (top left) with Dinna Bjorn Frank Andersen (kneeling left), Niels Kehlet (kneeling right) with Eva Kloborg. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/208c1a6d-1607-40df-8d76-c183eafe7e81/IMG_8336.jpeg Essays - Niels Kehlet (1938-2023) - 11: Niels Kehlet (left), Peter Schaufuss (right) with Mette Hønningen in a 1977 performance of Harald Lander’s “Études”. Photo: John Rosforth. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e7f1de17-f2d0-476c-aae2-cda58217105c/IMG_8337.jpeg Essays - Niels Kehlet (1938-2023) - 12: Niels Kehlet (jumping) as the Joker in a 1971 performance of John Cranko’s “Jeu de cartes” (“Card Game”). Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7a83ef19-d8e5-49ce-a189-f543b0f353c3/IMG_8338.jpeg Essays - Niels Kehlet (1938-2023) - 13: Niels Kehlet in a 1972 performance of Glen Tetley’s “Pierrot Lunaire”, with Vivi Flindt. Photograph: John Rosforth. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5b555093-1747-42e7-bd13-c5641e6e1e3d/IMG_8339.jpeg Essays - Niels Kehlet (1938-2023) - 14: Niels Kehlet in August Bournonville’s “William Tell” pas de deux. (Probably this number is Hans Beck’s work, based on Bournonville’s earlier choreography of a larger divertissement for Rossini’s opera. The music in includes the Tyrolienne composed by Rossini for Marie Taglioni, “Un bel oiseau”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/124513aa-0e83-4a37-849a-6e9a00f9cd17/IMG_8342.jpeg Essays - Niels Kehlet (1938-2023) - Make it stand out 15: Solveig Østergard and Niels Kehlet in the “William Tell” pas de deux. See 14. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b7c2630e-be33-44f1-9610-711ee7f39f95/IMG_8343.jpeg Essays - Niels Kehlet (1938-2023) - Make it stand out 16: Niels Kehlet and Solveig Østergard in the “William Tell” pas de deux. See 14. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a69819ab-cb55-4d4f-a214-6c1897471eac/IMG_8345.jpeg Essays - Niels Kehlet (1938-2023) - Make it stand out 17: Niels Kehlet and Helga Heinrich in the Bluebird pas de deux from “The Sleeping Beauty”. https://www.alastairmacaulay.com/all-essays/w0ezet28ntto1b2rqq0cowgpl7qmej monthly 0.5 2024-08-02 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/81ca625c-7ff9-4406-a57a-d1f4eae9130a/B761FDDA-4ADB-4673-AED2-F525EC5BA779.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 1: Gavin McCaig https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7593124f-1d75-40d9-9832-287cc005421c/A598DC98-C449-49B0-9EEA-1ACDFD1FB242.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 2: During the run of Northern Ballet Theatre’s “Nutcracker”, McCaig (right) and Matthew Topliss (left) lift Natalia Lerner backstage.”: three Arabian dancers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2d402a9b-0cf9-489b-b894-ef5da4af23f4/1F3E5ADF-CBDB-4283-A595-B01C4CE6DBCF.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 3: Gavin McCaig as Drosselmayer in Northern Ballet Theatre’s “Nutcracker”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e457966f-c3e5-40f1-8ae0-422778fcb2d9/6ADC12B0-5596-47D9-B572-8248DF07E5AA.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 4: McCaig as Drosselmayer, Northern Ballet Theatre. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6101eaf8-1cd9-4e52-b234-220ee72249ba/4FC1A244-3099-416F-B7FD-A214E4E070FE.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 5: McCaig rehearsing London Children’s Ballet dancers for his “Snow White” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/841fff45-56de-42f6-ac5c-cbd2b08d1ff6/7A2A55FD-5C56-4FFA-817A-8835379D07BB.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3d33fde9-63d7-4ea9-b1c9-8969d11a5230/783E6310-ED45-46EB-AA52-FEC5034642F1.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 7: McCaig rehearsing London Children’s Ballet dancers for his “Snow White” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5f1d174b-3d4f-4cbb-9fd7-902e5378ad3e/2BD5B753-B493-49E5-83E7-7A3287779BF7.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 8: McCaig rehearsing London Children’s Ballet dancers for his “Snow White” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/eeab5564-9905-4105-a558-c94d2bdee32f/36B0C49D-43FA-4711-B071-04B872430D87.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 9: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, London, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fe709d33-cd0e-460c-af96-a3c634894d0c/1C3B8B13-0643-420B-978E-A8592781AE2B.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 10: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5ce83759-7d36-421a-89eb-4dc82bf3532e/5905C938-FFCD-4FBA-9964-CFF9D7E8D987.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 11: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e7df5a98-bc62-4f1c-a498-622b8f84fad4/BB670ED5-9F96-4787-AF62-F11FC24820F0.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 12: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6b2e2a35-cf02-4bd7-a7df-55c46d337cda/B447504C-2A3A-4D1D-AD40-DF252834A9BF.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 13: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dedddd1b-353c-4a6e-9949-b47bf4750e55/E1D35E69-392C-49B2-9AEB-26290D10AF43.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 14: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e86c15e3-35e9-4380-accd-585a766efeb1/E15C745B-2BD1-4EA4-8B34-B15ACCF4842C.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 15: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/88d8da66-354f-4337-bb34-cb1d32e3a8b4/3C1CEC4A-9A6A-4BDC-B7F4-2BA3EEE877C3.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 16: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fa9f5cb6-b380-463e-a0c6-6a1af37c7d41/9714B018-9D94-4B7F-90E4-74BE71A33C1A.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 17: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6256b3fa-c092-4b2a-bed1-9971c2ba87e2/DDFB8578-C606-413D-BB96-6E762E8AFA9D.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 18: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5edbb751-2be8-4af4-add0-69d4188fb55d/31907F50-6E00-4628-B95B-B8F9B2696088.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 19: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/91481677-6c61-4e8b-972d-f249c587e607/3D1E0231-F8DC-4F3D-8142-A6B64C4121D7.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 20: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0a0a18f7-3502-44af-8e48-ca6b2c77d902/63A1A042-0D71-4EF3-B74E-C9111122E1F4.jpeg Essays - Young Choreographer meets Old Critic - Gavin McCaig, 27, and Alastair Macaulay, 67, interview each other - 21: London Children’s Ballet performing McCaig’s “Snow White” at the Peacock Theatre, April 2023. Photography by ASH. https://www.alastairmacaulay.com/all-essays/i2deubfvjmza0hswddb07yktbc8ev9 monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f87061d8-115c-4529-8ae7-e3a032ad55b8/IMG_4827.jpeg Essays - Handel’s “Serse” in concert - 1: Emily D’Angelo (Serse). Photograph: Paul Marc Mitchell. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/99b02ad1-a5da-46b7-baa1-86efde3aa47f/IMG_4833.jpeg Essays - Handel’s “Serse” in concert - 2: Emily D’Angelo (Serse). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dda46dd0-ed07-43dc-bf97-a963078a9e4b/IMG_4835.jpeg Essays - Handel’s “Serse” in concert - 3: Emily D’Angelo (Serse) and the English Concert. Photograph: Richard Termine. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f8bbf56b-099a-4607-87fa-1887b7ceabf7/IMG_4829.jpeg Essays - Handel’s “Serse” in concert - 4: Mary Bevan (Atalanta) and the English Concert. Photograph: Richard Termine. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bb910e53-8d33-4cbe-b3d7-58d76221a27c/IMG_4837.jpeg Essays - Handel’s “Serse” in concert - 5: Lucy Crowe (Romilda) and the English Concert. Photograph: Richard Termine. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2e9e7a44-b955-425b-a44c-9f70241adb76/IMG_4839.jpeg Essays - Handel’s “Serse” in concert - 6: Mary Bevan (Atalanta) and William Dazeley (Elvira). Photograph: Richard Termine. https://www.alastairmacaulay.com/all-essays/anxc9qtia2f86fx2quhkuhu7mqhwmj monthly 0.5 2024-09-03 https://www.alastairmacaulay.com/all-essays/blue-london-coliseum-grief-race-and-police-brutality monthly 0.5 2024-08-24 https://www.alastairmacaulay.com/all-essays/alcazkk9gclxi4dhbnv15caasgkkyl monthly 0.5 2024-08-24 https://www.alastairmacaulay.com/all-essays/kf34gu1agf5hfug6taicjvvuy00d0j monthly 0.5 2025-05-12 https://www.alastairmacaulay.com/all-essays/kw61knmtxem1wn4o9ynujh9cxqbgzh monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7a1d04d3-55e8-4dc0-b173-5166d702809f/IMG_3741.jpeg Essays - Wayne McGregor’s “Woolf Works” - 1: Alessandra Ferri and members of the Royal Ballet in Wayne McGregor’s “Woolf Works”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9cd4ac03-f512-40b7-a454-62113e5c3ae4/IMG_3743.jpeg Essays - Wayne McGregor’s “Woolf Works” - 2: Alessandra Ferri and members of the Royal Ballet in Wayne McGregor’s “Woolf Works”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/19ec6fb8-2701-44d5-8afe-dc3d9747533e/IMG_3745.jpeg Essays - Wayne McGregor’s “Woolf Works” - 3: Alessandra Ferri and members of the Royal Ballet in Wayne McGregor’s “Woolf Works”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/58ead9fc-a939-4eac-9025-22e647f80359/IMG_3748.jpeg Essays - Wayne McGregor’s “Woolf Works” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.alastairmacaulay.com/all-essays/8e5s5ofnyhubu7mhgvft9q93rdh4l9 monthly 0.5 2023-02-16 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/16408e9d-2934-4034-92b8-a53e49e4ce44/75FCF2F3-0C6F-4E97-AE32-FFF88CBED768.jpeg Essays - Mikhail Fokine, modernist choreographer - 1.Mikhail Fokine in Marius Petipa’s Raymonda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/feff00f3-852f-4f7c-a3a1-a0e63075aa4a/8AF57CDD-2248-4444-BBF7-BB2E5ACBEC96.jpeg Essays - Mikhail Fokine, modernist choreographer - 2. Mikhail Fokine, the ballet master https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/38be562a-b6c2-48ee-b72a-2628ecc623b0/5E90C4C1-E3CE-432B-A917-D49BD6C30FD0.jpeg Essays - Mikhail Fokine, modernist choreographer https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ef7547e0-0f06-48d6-b2ea-6275668a66ed/C814FDA6-217F-4E3D-AF2E-4E75F2185F81.jpeg Essays - Mikhail Fokine, modernist choreographer - 4. Tamara Karsavina in the title role of The Firebird, 1910, wearing the androgynous culottes or pantaloons on which Fokine insisted. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c3496778-7fbb-4f65-89b9-16333d841f5a/E2E984ED-8FBE-42D3-9DDC-9B19700F7BDA.jpeg Essays - Mikhail Fokine, modernist choreographer 5.Tamara Karsavina in the title role of The Firebird, 1910, wearing the androgynous culottes or pantaloons on which Fokine insisted. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/85e0045a-af6f-4436-8ddd-602d396094bb/C7CA0DE8-1E56-4CF6-B21A-3C7D84DB3068.jpeg Essays - Mikhail Fokine, modernist choreographer - 6.Tamara Karsavina in the title role of The Firebird, 1910, wearing the androgynous culottes or pantaloons on which Fokine insisted. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/af235e3c-7316-4fa6-a9e2-4601ddb1ab19/B1AFC131-E139-4DD8-BD3E-453DB35FF67B.jpeg Essays - Mikhail Fokine, modernist choreographer - 7.Tamara Karsavina in the title role of The Firebird, 1910, wearing the androgynous culottes or pantaloons on which Fokine insisted, with Fokine as Ivan Tsarevich. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8d2bb621-75db-4583-ac77-6f8fbaafe896/18F04E75-428B-48EF-9396-9788133BEFDD.jpeg Essays - Mikhail Fokine, modernist choreographer - 8.Tamara Karsavina coaching Margot Fonteyn in the title role of The Firebird, in 1954. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ccaa3239-6740-4908-b6a2-b3ba0f791f27/2F44C47B-A0BD-49D6-8B34-EA1E171F9EE3.jpeg Essays - Mikhail Fokine, modernist choreographer - 9. A 1954 photograph by Robert Harper of Svetlana Beriosova and Michael Somes as the Beautiful Tsarevna and Ivan Tsarevich in the first Royal Ballet production of The Firebird. They are just beginning the kiss. Two of the twelve princesses, propping up their heads on their elbows, are seen to watch; in fact all twelve are spellbound, variously grouped around the stage. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8023bbaa-4fdd-41ff-9bdc-43e0d9c1573b/40D970A7-0E2A-4D1F-80AE-A3AC77895483.jpeg Essays - Mikhail Fokine, modernist choreographer - 10. Alexandre Benois painting of Les Sylphides, which he had designed, 1909 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0af73ae6-5cb1-4a9d-b350-7a9c56686a31/8E0258E0-04A9-4468-B33C-FF7B6ADD08C4.jpeg Essays - Mikhail Fokine, modernist choreographer - 11.Leon Bakst, 1909 poster for Diaghilev’s Ballets Russes, showing Anna Pavlova in Les Sylphides. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b24a206f-93df-4cd3-b0c9-05787d980549/7788A1D9-374A-4805-9B77-D651FA24B797.jpeg Essays - Mikhail Fokine, modernist choreographer - 12. A 1910 page featuring the Diaghilev season in Paris, flanked by Vaslav Nijinsky (left) as the Golden Slave and Ida Rubinstein (right) as Zobeide. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8ee5ced0-27ad-4084-b289-3457be9793fb/AA3AFA95-9CD3-44FF-9228-D49DF913D494.jpeg Essays - Mikhail Fokine, modernist choreographer - 13. Vaslav Nijinsky in the title role of Petrushka, 1911. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/66ce1098-a391-4d7d-b7df-0da0f61404fd/95B8449C-9520-4F04-B955-7B6B01CE0960.jpeg Essays - Mikhail Fokine, modernist choreographer - 14. Tamara Karsavina as the Ballerina Doll in Petrushka, 1911. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f64b51e9-7249-4cc0-9caf-13749379ca3d/23DA73AD-C6EB-41AA-9F4E-F193DD29DFFE.jpeg Essays - Mikhail Fokine, modernist choreographer - 15. Tamara Karsavina as the Ballerina Doll and Alexander Orlov as the Blackamoor in the original production of Petrushka, 1911. https://www.alastairmacaulay.com/all-essays/v8dlqx5xnhm51pato8tvr05kzr1txv monthly 0.5 2023-01-15 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9755c7ab-aa27-4982-9d86-03302afb5444/36935028-2BF5-49DF-B3AB-78EEC275D2A5.jpeg Essays - Farewell and thanks to Stomp - 1: Stomp. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0677abea-4795-4de4-83b6-ef6f2de8d451/5D4F2F01-4345-4654-9F5B-A4FD3A9691C5.jpeg Essays - Farewell and thanks to Stomp - 2: Simeon Weedall in “Stomp”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/64454d3c-d5ea-4e4c-876c-ce1beacfeb99/7217A0AB-BE26-467F-8A07-9CBA9EBAA8B4.jpeg Essays - Farewell and thanks to Stomp - 3. “Stomp”, photographed by Rachel Papo for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a07de0cb-2251-420e-b030-6c7529b4cbb8/FEE172FE-D7CF-4049-88D9-F8611D1B9324.jpeg Essays - Farewell and thanks to Stomp - 4: “Stomp”, photographed by Rachel Papo for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a4cbc72c-8486-4848-9a0e-7b6209330f1a/ECEBC11E-47F9-4A58-BE47-EEE2E7633022.jpeg Essays - Farewell and thanks to Stomp - 5: “Stomp”, photographed by Rachel Papo for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9ffa604d-a6f5-4a88-99cd-48bd1b667a3d/12CEAAE6-3630-4667-84EA-37492118CBA1.jpeg Essays - Farewell and thanks to Stomp - 6: “Stomp”, photographed by Rachel Papo for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/20c48165-6b85-4eaf-9c43-57bd08283dbe/422B2538-2C22-4641-AB24-BFD140F8B63D.jpeg Essays - Farewell and thanks to Stomp - 7: “Stomp”, photographed by Rachel Papo for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/22c88724-8428-482e-8ea2-cfaf4d710447/039151BE-9AC9-45AD-AEE2-3661D34EC112.jpeg Essays - Farewell and thanks to Stomp - 8: “Stomp”, photographed by Rachel Papo for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/00e05e42-2aaf-4d19-bf3a-945215d280c3/B653269B-B028-4D5B-8365-66E1B9089F16.jpeg Essays - Farewell and thanks to Stomp - 9: “Stomp”, photographed by Rachel Papo for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9cde00fe-88f5-4af9-ab6e-302eacd960e1/25571B41-BDB8-49A8-95EC-C716DE6CA468.jpeg Essays - Farewell and thanks to Stomp - 10: “Stomp”, photographed by Rachel Papo for the “New York Times”. https://www.alastairmacaulay.com/all-essays/jx0qk8j2qo2u5ru6projje4q86zdqu monthly 0.5 2024-04-17 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4f4e5606-ca22-445b-a654-7222461e7291/B719FC41-24FC-4FA5-ACE2-5C8A7B7584D7.jpeg Essays - Patricia Lent (part 4) on Merce Cunningham: “August Pace”, the first computer dances, falling, losing balance, and “Change of Address” - 1: Patricia Lent rehearsing the 2019 reconstruction of Merce Cunningham’s “August Pace” (1989), with Daniel Madoff filming. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/64c401ba-3f9f-4352-bd35-04aa5c145ab7/477BA193-9634-4CDB-AADF-5861708C76F6.jpeg Essays - Patricia Lent (part 4) on Merce Cunningham: “August Pace”, the first computer dances, falling, losing balance, and “Change of Address” - 2: Patricia Lent and Alan Good in November 2019 demonstrating the final duet that they had created thirty years before in Merce Cunningham’s “August Pace” (1989) - part 1. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9d6c753a-ae0e-419a-815d-3f6195c1de56/B5CD787F-1720-4D3D-8BDB-D1EF19990FAC.jpeg Essays - Patricia Lent (part 4) on Merce Cunningham: “August Pace”, the first computer dances, falling, losing balance, and “Change of Address” - 3: Patricia Lent and Alan Good demonstrating the next move of the duet they created in Merce Cunningham’s August Pace (1989) - its final duet - in November 2019, at New York City Center Studio 5. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d17fae2c-8249-4891-9b49-6987b98337dc/2A389A58-92B7-4967-A1B9-D9E781346811.jpeg Essays - Patricia Lent (part 4) on Merce Cunningham: “August Pace”, the first computer dances, falling, losing balance, and “Change of Address” - 4. Patricia Lent demonstrating a jumping step in August Pace (1989) to two male dancers in November 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3f35165f-9af6-4269-a4ab-e0138a3a5786/8EFB6800-044B-4598-9856-3E1E5D676130.jpeg Essays - Patricia Lent (part 4) on Merce Cunningham: “August Pace”, the first computer dances, falling, losing balance, and “Change of Address” - 5. Merce Cunningham’s notes for August Pace (1989) include this drawing of a man he had observed in a street in Arles, France. (Reproduced here by kind permission of the Merce Cunningham Trust and New York Public Library for the Performing Arts.) Patricia Lent discusses this in her answer to question 73, in part 2 of this series of email interviews. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e233d17c-3a4c-41ce-8ea6-89ccea84cf60/B55836E8-70DC-4A65-9BCE-2F91CDE3F669.jpeg Essays - Patricia Lent (part 4) on Merce Cunningham: “August Pace”, the first computer dances, falling, losing balance, and “Change of Address” - 6. When Merce Cunningham was preparing a new work, his dancers became aware of this from the new material that emerged in the classes he taught them. Here is a page of his notes for classroom phrases that he would then work into August Pace (1989) as its phrase #56, one of his gamut of 81 phrases. (See Lent’s answer to question 103.) A point of interest is that Cunningham, while generally using English-language terminology in the classroom, often used French ballet terms in his preparatory notes: pas de chat, tendu, and so on. (Reproduced here by kind permission of the Merce Cunningham Trust and New York Public Library for the Performing Arts.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5c62d62c-9c38-407b-b337-ee566b2999d5/E2368916-6AC8-40C4-9424-AB9596814274.jpeg Essays - Patricia Lent (part 4) on Merce Cunningham: “August Pace”, the first computer dances, falling, losing balance, and “Change of Address” - 7 For Merce Cunningham, almost every new work was a process of discovery. Very seldom indeed for he start with an idea that remained the defining concept behind the work he then created. Far more often, an initial idea was an ignition key, something to spark his engines; but then he applied chance procedures and other ideas until his original notion had changed out of recognition. This page, dated 17 June 1989 (“VI/ 17/ 89”), three months before the premiere of August Pace, contains several different layers of Cunningham’s thought. (Reproduced here by kind permission of the Merce Cunningham Trust and New York Public Library for the Performing Arts.) At the page’s centre are the initials of the dancers (twelve and, added later, three) who will perform most of its choreography, but, though they are in two columns, it’s not clear that Cunningham has decided to structure August Pace as a series of male-female duets. The diagonal arrow that connects “PL” (Patricia Lent) to “AG” (Alan Good) may be an early sign of this heterosexual structure. “KPS” refers to Kristy Santimyer, who left the Cunningham company at this time; “RW”, an addition, is Robert Wood, who in the event partnered “HB”, Helen Barrow. “CT” and DOC” are Carol Teitelbaum and Dennis O’Connor. At this stage, there is no mention of “JW”, Jenifer Weaver, who became the significant fifteenth player in the cast, like the joker in the pack. And he has not seen the work as series of seven duets! Characteristic of Cunningham are the instructions he gives himself and the questions he asks of himself. “Keep stage with 1, 2, 3, 4 Maybe 5” is probably an early version of his eventual decision to limit the number of dancers onstage at any one time in August Pace. The note “like solos et al” probably refers to the way that the duets of August Pace are almost constantly composed as pairs of simultaneous solos. The way “weighted movement?” is presented as a question is very Cunningham: he means to see how far this idea will take him (and is prepared to drop it). In the event, most of the August Pace choreography is indeed weighted; it may contain jumps, but they do not have the aerial quality of some other Cunningham dances. “Make variations for each dancer, with gargoyles” is a fascinating remark. Certainly August Pace showed that Cunningham was individualising the material performed by each dancer; but the sense of grotesquerie suggested by “gargoyles” is by no means obvious in the finished choreography. https://www.alastairmacaulay.com/all-essays/uokjxbg5bpaah87a89eb3jllxf5ptc monthly 0.5 2022-12-19 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d49f9aa3-7734-4bfe-911b-ddbf4ecc8790/93BDD66F-010E-466B-9494-6F4A8E75FED2.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 1: Beryl Grey as the Lilac Fairy in The Sleeping Beauty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3fe5342d-1a61-45b8-9db7-2625b029c8b2/BB10A9D5-3240-4463-9CF8-1A7DE14D140E.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 2: Beryl Grey as the Lilac Fairy in the Panorama Scene of The Sleeping Beauty, with Margot Fonteyn as Princess Aurora and Robert Helpmann as the Prince. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/129eb1fb-c21b-4e82-bede-5aac86a3ed2f/C93C7EBB-DE44-4C68-B241-3EBB27711283.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 3: Beryl Grey as Giselle. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/522f15cb-af75-4009-9ddf-3f3b11fe8ab8/04FBA79E-E539-42F9-A3BA-89A194090016.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 4: Beryl Grey as Giselle. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/40efd4ae-972d-464b-8cbd-a1021dda22bb/E72702E9-0969-4D90-AEF8-E29C434DDE02.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 5: Beryl Grey as the Black Queen in Ninette de Valois’s Checkmate. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f45ba645-da9d-4cfb-9ac5-e87688f9ad68/76D1835D-C27A-416B-9ED2-7531BE501801.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 6: Beryl Grey as the ballerina of Frederick Ashton’s Scènes de ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2ce47c16-51c2-4dc7-822a-ec9c7aa6511f/AB37C99B-F479-4C44-9C45-C9AEDDFCC7E4.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 7: Beryl Grey as Fairy Winter in Frederick Ashton’s Cinderella (1948). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/811d4191-cf5c-4614-b3b5-d19451beb4fc/90F93072-3649-46F1-9E90-0FE88B3AE9E3.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 8: Beryl Grey as Princess Aurora in The Sleeping Beauty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d7310a94-fbe7-4b16-93ad-f0a1fda0491e/EA9AF4EB-E32F-4E22-912E-DA04B58FEF3E.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 9: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d32ae0d2-26f8-456a-8e6f-20fc293d3331/5CE1E430-6D07-49DF-BC16-E87F53A2E5A4.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 10: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8c359224-ee5c-4547-918a-08872648b221/60E17C45-5FDA-4217-BE18-7AC743D527A4.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 11: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2330779e-ea15-460b-9420-d672f4e5b463/C63CE286-4DBB-4CAB-8E8C-29CC19F52C2A.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 12: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a907a3b8-fd12-455f-bf25-497a109cf291/C203D1E0-1D6F-4F33-ACED-177F1652BD95.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 13: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4b7dbd8b-307c-4651-9a7f-9b2a514711b0/F4F5BBDD-12A9-43C7-8010-7420AC0A7826.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 14: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b7da9f76-f564-4e83-bdb8-76981fd9a171/BE97F181-1618-41D2-BAF0-C39902521B8E.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 15: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e889551c-383f-4bf6-bce3-13b758e11cec/3B369A63-A443-42F0-9E11-063E24115007.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 16: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/515a9018-f190-4b54-855f-0d52ab3ef5a8/2D54E128-513A-482D-962F-50496F01988A.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 17: Beryl Grey in the YouTube Pathé newsreel of her 1958 Bolshoi Ballet appearance as Odette-Odile in Swan Lake, with Yuri Kondratov as Prince Siegfried. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fd26a334-006b-4a04-8aa4-c21972bc0bd9/88E7243A-F35D-4783-9130-A21DF1E38570.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c9e214ab-9256-4ede-accb-4377a775cf38/0DE1DBE9-6737-488B-BB8C-A7069FF3F926.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 19: Beryl Grey as Princess Aurora in Act Three of The Sleeping Beauty, 1951-1952, Sadler’s Wells Ballet at Covent Garden. Photo: Roger Wood. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e1a1c5d6-24b4-47c0-b66f-a29859fc00b9/E10D7854-DE1E-4D22-88F1-596EB83D0CCB.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 20. The first half of John Masefield’s poem on Grey as the Prelude in Les Sylphides. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/324038ee-6172-4b6d-be84-028679888c6a/28467337-9E4E-43E6-A809-6E974654444E.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 21: The second half of John Masefield’s poem on Grey as the Prelude in Les Sylphides. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/817c9435-e848-4310-b394-4d771df05145/77184A52-3339-4A38-80CB-38580DF539E0.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 22: The seven ballerinas of the original cast of Frederick Ashton’s Birthday Offering (1956) in a famous photograph by Roger Wood. Left to right: Svetlana Beriosova, Rowena Jackson, Elaine Fifield, Margot Fonteyn, Nadia Nerina, Violetta Elvin, Beryl Grey. With Grey’s death, Jackson is now the only survivor of the seven. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f27a3e32-9404-436b-b24e-6381a719a592/2A5F05B6-1A17-4355-8B21-CDC0A73F6880.jpeg Essays - Beryl Grey (1927-2022), prima ballerina and artistic director - 23: An enchanting photograph, taken by Beryl Greg’s husband Sven Svenson, of two historic ballerinas together: Maya Plisetskaya, applying her special “fish-scaler” (used to remove the rough surfaces of ballet shoes) to Grey’s point shoes. Plisetskaya and Marina Semyonova were among the Bolshoi ballerinas who paid tribute to Grey’s Odette-Odile in 1958. https://www.alastairmacaulay.com/all-essays/0j8dulfihnc6zdx2nfvpztcgkdshqo monthly 0.5 2022-11-23 https://www.alastairmacaulay.com/all-essays/y2r0awwvu50yu5c17aeoicpecnglkl monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2b7231e8-40aa-44b5-af34-699ba8e1862a/IMG_5006.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 1: “Samson et Dalila” at Covent Garden. Photograph: Laura Stevens. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/563a0e62-a6a6-4135-8eba-075feb8b5a16/IMG_5008.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 2: Elīna Garanča (Dalila) in “Samson et Dalila” at Covent Garden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8b7037ff-5400-42b9-bade-b6919aaf80de/IMG_4987.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 3: “Samson et Dalila” at Covent Garden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ead913ee-7e11-4e3e-86e7-49f553e602c3/IMG_4991.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 4: “Samson et Dalila” at Covent Garden. Photograph: Clive Barda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b109047c-047e-4cd6-943a-7ac33793bc35/IMG_5002.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - Make it stand out 5: “Samson et Dalila” at Covent Garden. Photograph: Clive Barda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/99f6aa06-30d0-4d3b-9734-a313d78ef558/IMG_4990.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 6: Elīna Garanča (Dalila) in “Samson et Dalila” at Covent Garden. Photograph: Laura Stevens. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ea2a9628-1a88-4586-89de-a8f7fd6f9dc7/IMG_5004.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 7: “Samson et Dalila” at Covent Garden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d20ed5ed-0c08-4015-83e7-fea89d302b9e/IMG_4983.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 8: Elīna Garanča (Dalila) and SeokJong Baek (Samson) in “Samson et Dalila” at Covent Garden. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/290562df-75c7-4bac-85f1-1b27b2d3536d/IMG_5010.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 9: Elīna Garanča (Dalila) and SeokJong Baek (Samson) in “Samson et Dalila” at Covent Garden. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/affe6671-5a10-450f-8bde-b339eb252271/IMG_4984.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 10: SeokJong Baek (Samson) and Elīna Garanča (Dalila) in “Samson et Dalila” at Covent Garden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2ea62f09-518a-4afc-8552-fe2b3fcf8f44/IMG_5003.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 11: Elīna Garanča (Dalila) and SeokJong Baek (Samson) in “Samson et Dalila” at Covent Garden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/696b2f0a-2ada-4053-9e8e-bf7c4bad3538/IMG_4998.jpeg Essays - Richard Jones’s Covent Garden staging of “Samson et Dalila” - 12: SeokJong Baek (Samson) in “Samson et Dalila” at Covent Garden. https://www.alastairmacaulay.com/all-essays/psijtxypif4d1zednco0a82tusx332 monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/62c1ee8f-1621-46a2-86d1-390b6f21c0a4/IMG_3528.jpeg Essays - Crystal Pite and Designer Suffering - 1: The Royal Ballet in Crystal Pite’s “Flight Pattern” at Covent Garden. Photograph: Alastair Muir. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4ee419b2-4b5e-4b7b-aedc-5cd6bc4dc004/IMG_3530.jpeg Essays - Crystal Pite and Designer Suffering - 2: The Royal Ballet in Crystal Pite’s “Flight Pattern” at Covent Garden. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1cc389cd-5da5-487d-8d87-90180dd30576/IMG_3532.jpeg Essays - Crystal Pite and Designer Suffering - 3: The Royal Ballet in Crystal Pite’s “Flight Pattern” at Covent Garden. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ffeb1e25-3145-4223-b1f2-19536137d933/IMG_3534.jpeg Essays - Crystal Pite and Designer Suffering 4: The Royal Ballet in Crystal Pite’s “Flight Pattern” at Covent Garden. Photograph: Dave Morgan. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/01960922-9c65-4cd8-9a6d-7f5b4282afb9/IMG_3536.jpeg Essays - Crystal Pite and Designer Suffering - 5: The Royal Ballet in Crystal Pite’s “Light of Passage” at Covent Garden. Left to right: Isabella Gasparini, Solomon Golding, Joseph Sissons, Kristen McNally and Lukas Bjorneboe Brandsred. Photograph: Dave Morgan. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/299ca993-d0fd-421b-96c7-34097a723970/IMG_3538.jpeg Essays - Crystal Pite and Designer Suffering - 6: Benjamin Ella and Isabella Gasparini in Crystal Pite’s “Flight Pattern”. Photograph: Dave Morgan. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/32ffa192-0aea-481b-a5e5-ff240a2d2441/IMG_3540.jpeg Essays - Crystal Pite and Designer Suffering - 7: The Royal Ballet in Crystal Pite’s “Light of Passage”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8a047646-18ee-4f42-bbad-65d2ceac22f6/IMG_3542.jpeg Essays - Crystal Pite and Designer Suffering - 8: The Royal Ballet in “Covenant”, the middle section of Crystal Pite’s “Light of Passage”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2c6d0d8e-b0d7-438b-82b5-04d4d8b92f51/IMG_3544.jpeg Essays - Crystal Pite and Designer Suffering - 9: Christopher Havell and Isidora Barbara Joseph in the final “Passage” part of Crystal Pite’s “Light of Passage”with the Royal Ballet at Covent Garden. Photograph: Marilyn Kingwill. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/415405b6-e434-4f50-a6af-566c97d02498/IMG_3549.jpeg Essays - Crystal Pite and Designer Suffering - 10: The Royal Ballet in “Passage”, the third and final section of Crystal Pite’s “Light of Passage”. Photograph: Tristram Kenton. https://www.alastairmacaulay.com/all-essays/mudevblzo0uyfg4kk0nyma8pjqqmfs monthly 0.5 2022-11-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/be4e704f-a385-4f29-b5c4-0b74649c3fc9/6C149328-2E6A-4479-BF2E-200F878B686D.jpeg Essays - A Trans Performer and a Countertenor, Apart and Together - 1.This poster shows countertenor Anthony Roth Costanzo (left) and trans performer Justin Vivian Bond (right). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f9db3b4e-a140-4b00-b8ae-b6148e6362da/5F3D73FD-379B-47C8-9C4D-6B260EDFD5CD.jpeg Essays - A Trans Performer and a Countertenor, Apart and Together - 2. Wilton’s Music Hall, as seen from centre stalls. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3c9b8ce3-1728-4aa8-9202-8df6f10d88e6/2C614048-D4C6-46ED-B4E5-7FE4824597A3.jpeg Essays - A Trans Performer and a Countertenor, Apart and Together - 3: Wilton’s Music Hall with curtains parted as seen from centre stalls. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8f59b126-0cd2-4e49-88d4-0dac51145d58/3697F491-4F5E-4204-956A-E36BF4E7AF62.jpeg Essays - A Trans Performer and a Countertenor, Apart and Together - 4: Wilton’s Music Hall as seen from centre stalls. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a66dccff-308c-4652-b480-1527381a1df9/F4858F6D-F2E4-4A9E-B81C-F3B2A15909E7.jpeg Essays - A Trans Performer and a Countertenor, Apart and Together - 5: The rear balcony at Wilton’s Music Hall as seen from the stalls. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8ddf5360-b929-4875-b688-4dca607ee396/95EAED1C-C50D-4D4F-AC12-25F20F711B4A.jpeg Essays - A Trans Performer and a Countertenor, Apart and Together - 6: The rear balcony at Wilton’s Music Hall as seen from the stalls. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e3c1f511-99be-4aaa-9635-b2b49f0b726e/903069FD-921B-4C98-93F1-3DE4D1DC5A13.jpeg Essays - A Trans Performer and a Countertenor, Apart and Together - 8: The rear balcony at Wilton’s Music Hall as seen from the stalls. https://www.alastairmacaulay.com/all-essays/gezp2a3zkz71jsc0j4cwa0hoyq5x3s monthly 0.5 2024-11-11 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5830bca7-ed22-47fa-ba63-fb28f2e02b0c/DB12E0A9-7D1B-4908-B612-BFC32FFD6080.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 1: Pauline Clayden as Chloë. Photograph: Baron Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f75f902a-d50e-4ccd-8669-4f1538e3d176/6ECE1137-C269-43B0-87E0-43DC7DFFA2A4.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 2. Brian Shaw and Pauline Clayden as the snakes in Frederick Ashton’s Tiresias (1951). Photograph; Baron. In Ovid’s telling of the Tiresias myth, it was the spectacle of two snakes copulating in a wood that had the effect of transforming the male Tiresias into a woman. Some years later, he saw snakes copulating there again - which now had the effect of transforming him back into a man. As planned by Constant Lambert and Ashton, the ballet Tiresias addressed the question “Which sex most enjoys sex?”, which in mythology Tiresias alone was qualified to answer from personal experience. It is not known whether the snakes of either gender enjoyed sex or how much. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c907370e-3572-45b1-9f69-b1e8666c0210/43F6DE0B-3D57-441F-B569-76C86827C506.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 3. Pauline Clayden and Brian Shaw as the copulating snakes in Frederick Ashton’s Tiresias (1951). Photograph: Baron. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4b194af6-6fdd-45ad-9991-79936a83fb24/13147E62-99DB-42B3-8FA5-92A8C2DDD7D1.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 4. Pauline Clayden and Brian Shaw as the snakes in Frederick Ashton’s Tiresias (1951). Photograph: Baron. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e5770e28-96fa-47ad-9b76-d81ad2953841/4736E0A2-543C-43C5-8FB4-B2E57FE70CFB.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 5. Pauline Clayden as the Betrayed Girl in Ninette de Valois’s ballet The Rake’s Progress (1935). Clayden’s quality of pathos was noted in several roles. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/959babc9-3312-445a-8df7-ddaa8eb760c9/CDBAA2D9-31ED-4390-9F78-9D2FD4EE9850.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 6. Pauline Clayden had only danced with the Sadler’s Wells Ballet for two years when Robert Helpmann created the role of the Suicide for her in his ballet Miracle in the Gorbals (1944), which had a commissioned score by Arthur Bliss and designs by Edward Burra. Helpmann himself created the Christ-like role of the Stranger. In this photograph, he is seen partnering Clayden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3b61ea38-3676-442c-b1f5-da5742bab362/EFF34A62-FB4B-4068-A40D-7CD2410683BD.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 7. Pauline Clayden as Chloë in Frederick Ashton’s Daphnis and Chloë (1951). Photograph: Roger Wood. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c98faa34-76b4-4997-b621-45fc0a3db5f6/AD1C7FCA-974B-4CE6-B97E-41B2E30F11E9.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 8: Pauline Clayden as Chloë in Frederick Ashton’s Daphnis and Chloë (1951). Photograph: Roger Wood. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4f737e81-9034-473e-86fb-d17ee7e02f3d/3F84005D-AA85-42CF-9AEF-20D9057C2D09.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 9. Pauline Clayden backstage at Covent Garden in March 1951 in a photograph by Roger Wood. The Sadler’s Wells Ballet had just returned from a famous five-month 1950-1951 tour of North America, one year after its debut season in North America, bringing in revenue to both Covent Garden and the British exchequer (for which thanks were given in the House of Commons). It’s likely that Clayden here is costumed as Fairy Autumn, the role she had created in Ashton’s Cinderella (1948), with designs by Jean-Denis Malclès. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ea0571db-7103-4b93-8f95-c4eff3301b9b/25560E1D-C4BA-4F14-B2A4-D119F6DDC019.jpeg Essays - The dancer Pauline Clayden, aged 100 in 2022, and her menagerie of roles. - 10: Pauline Clayden and Brian Shaw as those copulating snakes in Ashton’s Tiresias (1951) https://www.alastairmacaulay.com/all-essays/q6re63hi4pptdsjsamjqeu1uq3x2le monthly 0.5 2024-09-07 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/680be7e0-233c-4bbf-b2b4-89342518cfe2/4CC36DF9-3381-4997-9C4F-DA9C288348D3.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 1. The Spanish infant Margarita, daughter of Philip IV of Spain and future empress of Austria, as portrayed by Juan Martínez de Mazo. Vienna, Kunsthistorisches Museum . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c9e6cda1-fdce-48d8-8b1d-c49162784d7f/B7856A32-3F31-4CEC-967E-F69217CCF831.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 2.The same infanta Margarita Teresa, in a portrait widely attributed (if not by all) to Diego Velásquez. Prado Museum, Madrid. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ef8b86f8-7094-4b56-9e52-2a2ad4b23c43/91A4455A-CC67-4D14-BD62-F5E3DBB5D524.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 3. A costume sketch by Oliver Messel for Princess Aurora in “The Sleeping Beauty”.Messel’s designs were used at Covent Garden between 1946 and 1968, with various revisions. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3aab0f96-bfe9-4895-99e5-1fbb45786aca/AF2349CD-76F3-4E8D-9578-D3A335A724E7.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 4. An online Victoria and Albert Museum photograph of a tutu designed by Oliver Messel and worn by Margot Fonteyn as Princess Aurora in Act One. This differs considerably in detail (especially in the skirt) from a Messel-Fonteyn Aurora Act One tutu displayed at Covent Garden c.2005, but both employ the long translucent sleeves apparently inspired by the portrait of the infanta. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d9d2fe96-1bc7-4590-b586-87e84682e67e/BA0249A9-E20E-4DF4-8782-470ACA3E1459.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 5. A photograph (surely posed) of Margot Fonteyn in the Act One Rose Adagio of “The Sleeping Beauty”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/14418fb5-eb85-4618-8346-76667b3e80cd/0149D1AA-A83A-4554-946D-9AC146C9B4F4.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 6. A studio portrait photograph of Margot Fonteyn as Princess Aurora in Act One of “The Sleeping Beauty”. She wears a Messel-designed tutu, though this differs in some respects from one in the Covent Garden archive. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/313662c9-42f2-45f8-aaf4-b06e35624eaf/FC9A3B44-033C-4876-80C3-56B9893FC125.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 7. The infanta Margarita Teresa painted by Velásquez in another pink dress (1653) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6c237370-f9c6-4376-8e41-2c556deed7ac/DFD48CFC-D138-47AD-8259-57DBA67D7FDC.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 8.The infanta Margarita Teresa in a blue dress, again painted by Velásquez (1659). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5c7177b3-62d3-46c4-92c0-91b7303097fe/70812FEE-E9FF-4818-B2DE-D9CE0D9CAD65.jpeg Essays - The portrait of the Spanish Infanta and the Covent Garden Rose Adagio - 9.Velásquez made the infanta Margarita the centrepiece of his “Las Meninas”, often considered the greatest and most ambiguous painting ever painted. https://www.alastairmacaulay.com/all-essays/4uw9hpgcyvlapbdqh7ybwh8ty73kkx monthly 0.5 2022-10-09 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/38be7832-ca0e-471e-98bc-cde5ca730773/90636DE5-A9B7-4D1A-96F7-AB3F09892DBC.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 1: Lynn Seymour as Aurora in Act III of “The Sleeping Beauty” as filmed in November 1977 for Margot Fonteyn’s TV series “The Magic of Dance”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5d7b97e6-21f1-4054-9092-338f3ac4165f/8ED3DFD0-62EB-4FC0-B6C5-7F61C5146A5A.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 2: Lynn Seymour as Juliet with David Wall as Romeo in Kenneth MacMIllan’s “Romeo and Juliet”. Photo: Leslie Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0e5d54d1-d5cb-4322-992b-891307ac878b/8ED18B74-71F4-4624-AF89-EB3E4885532E.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 3: Lynn Seymour in Act One of Kenneth MacMIllan’s “Anastasia” (1971). Photo: Anthony Crickmay. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e5c2d49f-5dc2-4785-a77b-0a4a1bd1d6f0/EB3E565E-5CD3-4AFF-868D-824F26A97DF4.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 4: Lynn Seymour as Manon in Act Three of Kenneth MacMIllan’s “Manon”. Photograph: Anthony Crickmay. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/47d8b712-f46d-4ff9-87fc-314191786037/31940ED3-02A1-43AE-B30C-EB862A5033F6.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 5: Lynn Seymour in Frederick Ashton’s “Five Brahms Waltzes in the Manner of Isadora Duncan” (1975-1976). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9d235c35-9c73-4ef6-bc21-045ad6c7a05b/CBE0E222-C11F-470D-A933-116991425838.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 6: Lynn Seymour as Natalia Petrovna in Frederick Ashton’s “A Month in the Country” (1976). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7a052436-bc73-4b30-9120-98aff8706b09/68A14EB8-3A84-44EA-A4A5-8995546DEE4E.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 7. Lynn Seymour and David Wall in the final pas de deux of Kenneth MacMIllan’s “Mayerling” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e45bf4c8-b1b3-4c7a-b3e0-28aaac08ee2c/AD5594E0-0ED0-4FB4-8C58-27090905F8F6.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 8: Lynn Seymour and David Wall in the final pas de deux of Kenneth MacMIllan’s “Mayerling” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9afac970-74ea-40dc-abe8-b0b337aad2cd/4CFE0A56-5CB4-4F55-8CEE-075E30FCDBD8.jpeg Essays - Memories of Lynn Seymour in her 1977-1978 season - 9: Lynn Seymour and David Wall in the final pas de deux of Kenneth MacMIllan’s “Mayerling” https://www.alastairmacaulay.com/all-essays/8u6qvxm720lmqeid2esag1c1daf026 monthly 0.5 2022-10-08 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ed564d6a-71b7-4e9e-822c-fea9e8ca58f2/772F3AF6-8E6D-4274-AB78-2A22E41D69B0.jpeg Essays - Shobana Jeyasingh - Clorinda Agonistes - 1.Jemima Brown (Clorinda), Jonathan Goddard (Tancredi) in Shobana Jeyasingh’s Clorinda Agonistes. Photo: Chris Nash. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/deb9793d-01b0-43c6-9f86-67647f9a33d7/D141B2D1-4255-4E1E-B506-61BD7215677D.jpeg Essays - Shobana Jeyasingh - Clorinda Agonistes - 2. Ed Lyon (centre) as the narrator/testo of Monteverdi’s Il Combattimento di Tancredi e Clorinda, with Jonathan Goddard (Tancredi, left) and Jemima Brown (Clorinda, right), in Shobana Jeyasingh’s Clorinda Agonistes. Photo: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3dd4d89e-73e2-4eec-8bc5-f1d688023305/377DAEA6-6FD8-4836-8019-9AA4CB479BDF.jpeg Essays - Shobana Jeyasingh - Clorinda Agonistes - 3. One of the ensembles in Shobana Jeyasingh’s Clorinda Agonistes. Photo: Chris Nash. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/18b9d3d4-c8ab-4a96-9e89-e6d467a8a195/F5ADD696-20F5-485E-AE14-C6740A142BA6.jpeg Essays - Shobana Jeyasingh - Clorinda Agonistes - 4. Jemima Brown as Clorinda, lifted by Jonathan Goddard as Tancredi, in Shobana Jeyasingh’s Clorinda Agonistes. Photo: Chris Nash. https://www.alastairmacaulay.com/all-essays/3r629hagj6r1d8ywalx7i78frhyjo9 monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8217581e-c351-4a16-9684-0620edcbf2a4/IMG_5232.jpeg Essays - The Richard Jones “La Bohème” at Covent Garden in revival - 1: Rodolfo (Juan Diego Florez) kneels to Mimì (Ailyn Pérez) in Stewart Laing’s set for Act One of Richard Jones’s Royal Opera production of “La Bohème”. Photograph: Marc Brenner. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/62d65ddb-d1d1-4fcf-9f56-02b80440cad1/IMG_5224.jpeg Essays - The Richard Jones “La Bohème” at Covent Garden in revival - 2: Act Two of the Royal Opera’s “La Bohème”, as directed by Richard Jones and designed by Stewart Laing. Photograph: Marc Brenner. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/eb86145b-1743-418a-b57f-cb2ef92807a5/IMG_5228.jpeg Essays - The Richard Jones “La Bohème” at Covent Garden in revival - 3: Musetta (Danielle de Niese) in the Café Momus scene of Act Two at Covent Garden. Photograph: Marc Brenner. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e8c9af70-9484-4a07-b75c-5d3e941b11b6/IMG_5230.jpeg Essays - The Richard Jones “La Bohème” at Covent Garden in revival - 4: Marcelo (Andrei Zhilokovsky) consoles Mimì (Ailyn Pérez) in Act Three of the Covent Garden “La Bohème”. Photograph: Marc Brenner. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/89b2a47f-8d56-4c60-89f9-ce5cc8b5364c/IMG_5225.jpeg Essays - The Richard Jones “La Bohème” at Covent Garden in revival - 5: In Act Four of the Covent Garden “La Bohème”, Mimì (Ailyn Pérez) returns to the arms of Rodolfo (Juan Diego Flórez). Photograph: Marc Brenner. Marcello (Andrei Zhilokovsly) and Musetta (Danielle de Niese) stand by. Photograph: Marc Brenner. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7143338e-ab06-4df7-a830-247ddf6cb245/IMG_5227.jpeg Essays - The Richard Jones “La Bohème” at Covent Garden in revival - 6: Rodolfo (Juan Diego Flórez) embraces the dying Mimì (Ailyn Pérez). Photograph: Marc Brenner. https://www.alastairmacaulay.com/all-essays/d60mgtk5dfyr98b1yw4kiqayshply0 monthly 0.5 2024-08-24 https://www.alastairmacaulay.com/all-essays/txs2x77hbfrx09xk18o4eth6q49ngg monthly 0.5 2022-09-12 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2d1a2043-62d0-4cb9-abd9-f938ca675839/2072021D-AE33-4880-899D-8B2CD579F32E.jpeg Essays - Why Does Marius Petipa Matter? - 1: Caricature of Marius Petipa by Nicolas Legat. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/37a60662-4b67-40c3-b9fb-a0c0e3ff6927/713959D7-D4B5-4D8D-A4F8-C75478BED603.jpeg Essays - Why Does Marius Petipa Matter? - 2. Photograph of Marius Petipa (1818-2010) https://www.alastairmacaulay.com/all-essays/00t6lpgyt8tgog41d8wrlbgqiqtysu monthly 0.5 2024-09-03 https://www.alastairmacaulay.com/all-essays/glyndebournes-poulenc-double-bill-contrasts-ideas-of-womanhood-review monthly 0.5 2024-09-03 https://www.alastairmacaulay.com/all-essays/cxn0e5dtam8dslp91parea3azu0m1e monthly 0.5 2022-09-12 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/553acc84-eb92-4733-9d3e-6e1753aae65c/0D68B73A-EF73-41BF-BD69-FF3167BF75BD.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) 1.Frederick Ashton (right) rehearsing the original cast of “Monotones - Trois Gymnopédiee”(1965: left to right, Anthony Dowell, Vyvyan Lorrayne, Robert Mead. Getty Images. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e727183b-df36-4d70-a24e-d99d0cfc4cdc/2EA5E402-6BD4-4FCF-82F7-173EEBFBA4C2.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 2. Left to right, Anthony Dowell (alighting from a jump), Vyvyan Lorrayne, Robert Mead in Frederick Ashton’s “Monotones - Trois Gymnopédies”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/25440d7e-3f16-4e4b-a271-832ce2e42051/0046391D-A7A1-4C2E-92C8-7B24DE22F0A3.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 3. Left to right, the original cast of Frederick Ashton’s “Monotones - Trois Gymnopédies”: Anthony Dowell, Vyvyan Lorrayne, Robert Mead. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/42e76261-0d82-45ae-8e54-30ba00ea93d3/3828FBC0-21F1-4519-91A0-0C8FA5F1A79F.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 4. The closing “photograph” tableau of Frederick Ashton’s “Enigma Variations” (1968). Robert Mead and Vyvyan Lorrayne are on the left as Richard P. Arnold and Isabel Fitton (“Ysabel”). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/beac4211-f421-4ffb-bb7e-2f1cd30e1449/C8457266-B40F-4FFC-B3F1-59A836DB6DD6.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/64a168ac-f532-4b82-9b3a-c07fb4cc43be/9FEC2D9F-CF90-4484-BA2A-05640FD3F9F6.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 6: Vyvyan Lorrayne lifted by Barry McGrath in Frederick Ashton’s “Siesta” (1972), made as “a birthday card” for Ashton’s longterm friend and collaborator, the composer William Walton, who had had his seventieth birthday earlier that year. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0a116803-74cb-4c43-8a54-1f719a711a16/90D1C03F-757A-45D9-8587-9E783335FEA7.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e6dd0451-35c4-4326-8e80-dae7cda62ea3/FA280157-2288-4B63-96DE-9F2F306BB9D6.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 8: Vyvyan Lorrayne, Antoinette Sibley, Deanne Bergsma, three of the young women who reached ballerina status under Frederick Ashton’s directorate in the 1960s. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cf3e945a-754c-4be3-b07b-5e49f7e1fab4/A24EA6FA-9BAE-4D75-8909-5FA5F44E2F35.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/973b1dc9-3261-4544-b268-c3db7b0f9006/A665CFC5-4FDF-42FD-BD74-3CF6907E328E.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 9: Vyvyan Lorrayne as the Siren in Balanchine’s “Prodigal Son” with Desmond Kelly as the Son, Sadler’s Wells Royal Ballet, late 1970s. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2ddc32e8-b21a-4bbc-8ed5-17f140d9ad13/1F3F47EE-38FA-4BC3-A4AC-0612D29BDA2A.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 10: A 1970s photograph of Marion Tait, Lesley Collier, Vyvyan Lorrayne before the Royal Opera House, Covent Garden. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6c855ca3-91ed-4a30-8cbe-e9d5c806e55c/96B350A8-5BF2-4EC7-8254-75131B82096B.jpeg Essays - Vyvyan Lorrayne Nieminen (1939-2022) - 11: A curious 1965 photograph, by G.B.L.Wilson, of the Fairy Godmother (Annette Page, centre) in Frederick Ashton’s Cinderella, surrounded by (left to right) Merle Park (Fairy Autumn, kneeling), Deanne Bergsma (Fairy Winter), Vyvyan Lorrayne (Fairy Summer), Antoinette Sibley (Fairy Spring). These costumes must have been from the David Walker designs new in 1965; I say “curious”, because the fairies’ costumes were subsequently modified in that production. https://www.alastairmacaulay.com/all-essays/8mv7j84mio4x92cyu1dl29p6zzf0i4 monthly 0.5 2024-03-02 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4f7ccafa-f6ae-4217-8421-21b60e4ebbf9/05E78AB0-FC1C-4212-8AE1-091084925A50.jpeg Essays - “Closer” at Age Twenty-Five - 1: My “Financial Times” review of the 1997 premiere of Patrick Marber’s “Closer” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8a05c833-0f0a-4eaf-942d-bf8a4a5e64fd/8FCB2A5C-5156-459D-B51B-6E4B59982961.jpeg Essays - “Closer” at Age Twenty-Five - 2: The text of that 1997 review. Yes, my name was misprinted. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5bd1f81a-2e98-400f-952a-048de9eb98fb/CAEF0A40-4633-402E-B46A-9EE65D4B1530.jpeg Essays - “Closer” at Age Twenty-Five - 3: My 1998 “Financial Times” review of the West End transfer of the original production of “Closer”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7ef109f1-eb2d-4ec3-92b6-584a96281806/82E6797E-7E2E-433C-9462-9A4CA8117688.jpeg Essays - “Closer” at Age Twenty-Five - 4: Julia Roberts (Anna) and Clive Owen (Larry) in Mike Nichols’s 2004 film of “Closer”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b448ab89-63d7-417b-922c-7a8be2195234/DE3F94FD-66F0-48D4-85C7-7D63A6CCDA92.jpeg Essays - “Closer” at Age Twenty-Five - 5: Nina Toussaint-White (Anna) and Jack Farthing (Dan) in the 2022 Lyric Hammersmith production of “Closer”. Photograph: Marc Brenner. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/11eeb3a1-91ff-44ce-81fe-5bc611b5deda/A29B3CB4-DB53-47FA-A108-CBA900132F1D.jpeg Essays - “Closer” at Age Twenty-Five - 6: Ella Hunt as Alice before the photograph of her at Anna’s exhibition in the 2022 Lyric Hammersmith production of “Closer”. https://www.alastairmacaulay.com/all-essays/gjeeswmkz7nl1c2dj5evrl9l3h4mvn monthly 0.5 2025-07-22 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/07be0a48-d359-4566-8ced-25f9fa30d98d/B6E092D2-7DA4-4F50-BF7B-BFC31858C954.jpeg Essays - Doing My Duty: On Being a Juror in a Murder Trial at the Old Bailey - 1:The Old Bailey or Central Criminal Court, London https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/43a50cb6-41e6-484b-b407-2e0aeb6a1a1e/FEFE2202-4DE5-428F-A4A7-FF5E1E091A4B.jpeg Essays - Doing My Duty: On Being a Juror in a Murder Trial at the Old Bailey - 2: The Old Bailey, or Central Criminal Court, London. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/271d4478-5307-45c6-aed6-417ead2025ce/2866FCF2-BE85-4870-A8B2-06953A962922.jpeg Essays - Doing My Duty: On Being a Juror in a Murder Trial at the Old Bailey - 3: One court at the Central Criminal Court or Old Bailey, London. https://www.alastairmacaulay.com/all-essays/heo4668nxv49dxsa86niv1udxoejnc monthly 0.5 2022-08-14 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cf43d31c-d97c-443c-bf47-885607ca5dbd/B66B2683-44AE-4879-9D7B-70764C1628D8.jpeg Essays - Lucien Petipa as Jacques-Louis David’s Cupid - 1.Jacques-Louis David, “Mars désarmé par Vénus” (1822-1825). Lucien Petipa (1815-1898) is the Cupid in the foreground. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dc17b5f0-b68c-4a64-a50b-9e911584b074/D2F2E959-1EE5-4AC6-A989-A2887403E958.jpeg Essays - Lucien Petipa as Jacques-Louis David’s Cupid - 2: Louise Adélaïde Desnos, Lucien Petipa, 1849. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/49305ad6-4f20-41eb-be12-601992f512fd/1DA9F5F3-2602-4E91-A204-6F97EBBFB94F.jpeg Essays - Lucien Petipa as Jacques-Louis David’s Cupid - 3: Lucien Petipa in old age: a professional photograph taken in Versailles, where he died in 1898. https://www.alastairmacaulay.com/all-essays/7lbfg80x0ex6h4fjob7fcoaovkbhfc monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6691eef6-7c63-46cc-8d00-291c1992a6f2/IMG_3417.jpeg Essays - Like Water for Chocolate - the ballet premiere - 1: Marcelino Sambé (Pedro) and Francesca Hayward (Tita) in Christopher Wheeldon’s “Like Water for Chocolate”. Photograph: Tristram Kenton. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4fa56dcc-0365-47e3-afb7-073c59b48527/IMG_3402.jpeg Essays - Like Water for Chocolate - the ballet premiere - 2: Marcelino Sambé (Pedro) and Francesca Hayward (Tita) in Christopher Wheeldon’s “Like Water for Chocolate”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/396d1562-f545-4356-90d3-0ea0b409f7ce/IMG_3419.jpeg Essays - Like Water for Chocolate - the ballet premiere - 3: Marcelino Sambé (Pedro) and Francesca Hayward (Tita) in Christopher Wheeldon’s “Like Water for Chocolate”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/906d936a-58bf-43c5-8fba-10af804b9157/IMG_3398.jpeg Essays - Like Water for Chocolate - the ballet premiere - 4: Marcelino Sambé (Pedro) and Francesca Hayward (Tita) in Christopher Wheeldon’s “Like Water for Chocolate”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fce95f92-b7d0-4a3f-bc7c-a6f7dc38ed0e/IMG_3400.jpeg Essays - Like Water for Chocolate - the ballet premiere - 5: Cesar Corrales and Anna Rose O’Sullivan as Rosaura in “Like Water for Chocolate”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9b9e771f-bef8-4919-9194-151353f6e85a/IMG_3409.jpeg Essays - Like Water for Chocolate - the ballet premiere - 6: Anna Rose O’Sullivan (Rosaura) and Cesar Corrales in “Like Water for Chocolate”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f250a27a-6a98-4e6a-afae-58bc1edc0160/IMG_3413.jpeg Essays - Like Water for Chocolate - the ballet premiere - 7: Anna Rose O’Sullivan (Rosaura) atop an ensemble in “Like Water for Chocolate”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bc6a67a0-faf6-4e3a-a398-eadd954ab93c/IMG_3415.jpeg Essays - Like Water for Chocolate - the ballet premiere - 8: Francesca Hayward (Tita) lifted by Matthew Ball (Dr John), with Marcelino Sambé (Pedro), right. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6e349426-66c3-4dae-aa92-9d130b3d1caa/IMG_3411.jpeg Essays - Like Water for Chocolate - the ballet premiere - 9: Laura Morera (Mama Elena) with Marcelino Sambé (Pedro), right. Photograph: Tristram Kenton. https://www.alastairmacaulay.com/all-essays/v1wmzb0fltnurnyfpq4jlb9b3lbby2 monthly 0.5 2022-06-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7f17667a-d4f2-419b-83cd-61de5a57b1fa/0A3ECCD4-4E41-40B0-8FB3-F645128A621F.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 1: Margot Fonteyn and Rudolf Nureyev in Ashton’s “Hamlet and Ophelia” (1977): screen-capture from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d2d96815-ca28-4aa7-8652-205eec520d40/6AEF8A40-05BD-40FB-A84E-197CD45021C0.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 2: Margot Fonteyn and Rudolf Nureyev in Ashton’s “Hamlet and Ophelia” (1977): screen-capture from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/32544a63-9490-4667-ac3f-099e202a857c/A21A3F9C-C6A8-4338-96F2-7255EEFA9483.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 3: Margot Fonteyn and Rudolf Nureyev in Ashton’s “Hamlet and Ophelia” (1977): screen-capture from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a98e69cf-4d23-4c77-b109-2659319c45d6/4C850E9A-8DC0-46BA-B180-8456EF0AA72F.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 4: Margot Fonteyn and Rudolf Nureyev in Ashton’s “Hamlet and Ophelia” (1977): screen-capture from YouTube. This moment of suddenly gazing stiffly out front, followed by a collapse off point, is one of the images with which Fonteyn and Ashton conveyed the spasm with which Ophelia’s mind became deranged. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/018da69b-b8b7-41c4-96f6-ec9a1f8c9fc1/2CCCE312-1026-4D59-969A-E87534838EB2.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 5:Margot Fonteyn and Rudolf Nureyev in Ashton’s “Hamlet and Ophelia” (1977): screen-capture from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/24429c1e-6bbb-4bc4-958c-50e0a322dddc/B78C43E9-C3F2-4561-BCAF-58FF2BD7B77D.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 6: Margot Fonteyn and Rudolf Nureyev in Ashton’s “Hamlet and Ophelia” (1977): screen-capture from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/19c3e69d-5275-44f4-9cd2-41df2f477ad8/06FED75A-C844-428B-9FC2-0A11B9E74857.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 7: Lynn Seymour and Wayne Eagling in the final pas de deux of Kenneth MacMillan’s “Gloriana” (1977). Screen-capture photograph from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d3efea44-4f65-41ce-8e3b-e010acdf00a3/D9584DBA-9B0F-4574-892C-31D5FB9807F0.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 8: Lynn Seymour and Wayne Eagling in the final pas de deux of Kenneth MacMillan’s “Gloriana” (1977). Screen-capture photograph from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ce153c55-2fcd-40b0-8c4e-5717c9388713/9A5EFDEF-3A7E-4B49-AC80-220A4C4FDC19.jpeg Essays - Silver Jubilee Ballets - Ashton and MacMillan - 9: Lynn Seymour and Wayne Eagling in the final pas de deux of Kenneth MacMillan’s “Gloriana” (1977). Screen-capture photograph from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5c4dae2d-af8a-4fc0-8e5c-18b6e5803418/70890D05-6CA0-4681-8E94-5C72EA108F98.png Essays - Silver Jubilee Ballets - Ashton and MacMillan - 10: Lynn Seymour and Wayne Eagling in the final pas de deux of Kenneth MacMillan’s “Gloriana” (1977). Screen-capture photograph from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2ef2f28b-73a0-4bd7-b680-557fc5d6ff52/7496C934-0733-48E4-90BA-6FA568381E34.png Essays - Silver Jubilee Ballets - Ashton and MacMillan - 11: Lynn Seymour and Wayne Eagling in the final pas de deux of Kenneth MacMillan’s “Gloriana” (1977). Screen-capture photograph from YouTube. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/252d518d-46b1-4704-b3d5-2d041f3d695f/3D3DD628-C2F8-4EE4-BAB4-2FF2416BDF98.png Essays - Silver Jubilee Ballets - Ashton and MacMillan - 12: After the world premiere of MacMillan’s “Gloriana”, the BBC TV camera cuts to the Gsand Tier, Covent Garden, where Princess Margaret, the Queen, and the Queen Mother can be seen in a their regalia, Prince Philip with his medals. Screen-capture photograph from YouTube. https://www.alastairmacaulay.com/all-essays/mn9js6qyyrfj70q4i4vh8qzwp2p766 monthly 0.5 2022-08-14 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5bb76147-1cf9-41a0-b00d-069cec2fa2d5/8AF4B8B6-CA55-47C1-82F1-DEE1E9272F9A.jpeg Essays - Harold Pinter’s “The Dwarfs”: Drama in the Line - 1.Denise Laniyan (Virginia) and Joseph Potter (Pete) in The Dwarfs, White Bear Theatre , Kennington, London SE11. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4737b5c3-4e0c-4818-a928-772696643922/B8421F88-85CB-4B65-9E93-4D76FE4A1D01.jpeg Essays - Harold Pinter’s “The Dwarfs”: Drama in the Line - 2.Ossian Perret (Len) in The Dwarfs, White Bear Theatre , Kennington, London SE11. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/06970880-90bc-420f-8ec3-6fb559c7ecec/B5ABB2DB-96E0-4976-9E0F-C88754893086.jpeg Essays - Harold Pinter’s “The Dwarfs”: Drama in the Line - 3. Charlie MacGechan (Mark) in The Dwarfs, White Bear Theatre , Kennington, London SE11. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/687ffe80-e2a6-4a76-8ae4-faa30ff081e9/85438E83-CC3F-4A93-94F2-250AB199BE40.jpeg Essays - Harold Pinter’s “The Dwarfs”: Drama in the Line - 4.1.Denise Laniyan (Virginia) and Joseph Potter (Pete) in The Dwarfs, White Bear Theatre , Kennington, London SE11. https://www.alastairmacaulay.com/all-essays/7838a6uimzn2j5r8koxwsxnjt5a19f monthly 0.5 2022-06-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d70d806a-262c-44d5-ba5c-95aa53db671c/397AC9ED-1E37-4D55-8452-D1D475AAFC2D.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 1.Susan Jaffe https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/24d21ddc-c7aa-4355-95aa-20f8af9aa3c3/75DAE91B-5BBC-48CB-BA99-1262899C985A.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 2. Tamara Rojo https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/635735d1-790e-4d90-b88d-cbbe122b1c1d/C319B707-4F24-412C-BED8-6B37043BF73F.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 3. Hope Muir https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/47956f19-8628-412e-9d4a-5aafe2d91546/D1340EF1-8E17-460A-B443-27319F7E6E4C.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 4. Lourdes Lopez. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d2c03d9c-7c17-40a5-960c-5a7ec46cf260/8AC7CC2F-76C3-44B9-989B-6E64091A2258.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 5. Altynai Asylmuratova. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6f690b61-0598-478e-8d3c-471abb138d2f/8C1148DA-0CC4-4F5B-801C-48695D56CBB3.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 6. Aurélie Dupont https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bed5521c-2a3c-494b-9147-2fe0b7cb4af4/06E42A20-0AC8-43AE-BEDA-D42CE5870C25.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 7. Julie Kent https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e5ed0ce6-9575-4ce8-abf5-60f118b664eb/17C8992E-03B0-49AC-9708-DA0CC9FC68B1.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 8. Paloma Herrera. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/47c2eae6-2b26-4334-be3b-93b5ed35650d/49FA3FC5-AEA4-4EB0-B30B-1BC5E357031C.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 9. Kathleen Breen Combes. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a97f1da2-fd42-46a9-944c-17746bdafe8c/833B0BAA-5B14-46DB-AF4F-12D60B33BA91.jpeg Essays - Women Transforming Twenty-first Century Ballet: Susan Jaffe and Tamara Rojo - 10. Nina Ananiashvili https://www.alastairmacaulay.com/all-essays/c6fggqsymec7ud4tbs9gy67zht73u7 monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cc815a51-9ab3-4e31-b750-29f88e526f84/IMG_3381.jpeg Essays - An Ashton triple bill at Covent Garden, April-May 2022 - 1: Sarah Lamb with Vadim Muntagirov in Frederick Ashton’s Scènes de ballet. Photograph: Helen Maybanks. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3c3ba0c1-8016-4c6c-80b4-3655e1f89629/IMG_3386.jpeg Essays - An Ashton triple bill at Covent Garden, April-May 2022 - 2: Marianela Nuñez (Natalia Petrovna) and Matthew Ball (Beliaev) in Frederick Ashton’s “A Month in the Country”. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b10ba020-9dd9-4d79-921f-403346dbc35d/IMG_3382.jpeg Essays - An Ashton triple bill at Covent Garden, April-May 2022 - 3: Marianela Nuñez (Natalia Petrovna) and Matthew Ball (Beliaev) in Frederick Ashton’s “A Month in the Country”. Photograph: Helen Maybanks https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3d395574-eb6f-4e5d-a28c-95fbcbefbb85/IMG_3384.jpeg Essays - An Ashton triple bill at Covent Garden, April-May 2022 - 4: Gary Avis (Rakitin), Marianela Nuñez (Natalia Petrovna), Christopher Saunders (Yslaev) in Frederick Ashton’s “A Month in the Country”. Photograph: Helen Maybanks. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/790c46d0-8d27-44cf-a99c-c76fda8cdb11/IMG_3389.jpeg Essays - An Ashton triple bill at Covent Garden, April-May 2022 - 5: Marcelino Sambé partnering Francesca Hayward in Frederick Ashton’s “Rhapsody”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/faf6a89f-96e9-4a4d-8018-358f4343e6d6/IMG_3390.jpeg Essays - An Ashton triple bill at Covent Garden, April-May 2022 - 6: Marcelino Sambé in Frederick Ashton’s “Rhapsody”. https://www.alastairmacaulay.com/all-essays/5wjzedx94suj3lktnb88rvw3ced5t5 monthly 0.5 2024-04-17 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aecd99d4-0ce5-4db5-b9c7-a317a3f37a6d/88C4CFC4-79F2-46C0-B01B-06B01B5E54F9.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 1: Studio photograph of Merce Cunningham’s Quartet (1982), with Cunningham (left), Helen Barrow, Judy Lazaroff, Rob Remley. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a7f99626-c56f-4b63-bff5-f4e8db35a543/2C23CAB8-933B-4B77-80FC-40C41ADC5D6C.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 2: The composer and musician David Tudor (1926-1996), who toured with the Cunningham company for well over thirty years. Having been a virtuoso pianist of radical modernist music from the 1950s on, and a close colleague of John Cage’s, he became a composer and player of electronic music. Cunningham, for his RainForest (1968) commissioned Tudor’s first score, Rainforest. After that, Tudor composed a number of electronic scores for Cunningham, including Toneburst for Cunningham’s Sounddance (1975) Phonemes for Cunningham’s Channels/Inserts (1981), Sextet for Seven for Cunningham’s Quartet (1982), Webwork for Cunningham’s Shards (1987), and Neural Network Plus for Cunningham’s Enter (1992). Cage’s death, Tudor became the Cunningham company’s musical director. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1c5f304c-215f-4d1b-88a6-5a904547fec7/9C390785-31DE-4E61-8883-3535038B1D47.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 3: David Tudor at his electronic keyboard. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ffa6ed80-5847-4b7f-a80b-52ab13c030c9/6A99C735-A4FA-45DD-A061-4BA3191C265B.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 4: The first page of Merce Cunningham’s notes, dated 19 June 1986 (“VI/19/86”), for the work that became Shards (1987). See details in illustrations 5 and 6. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/023af792-12da-4dc8-a1ca-730322b8bd6d/A5DDA253-B2A4-4834-9D84-EB3D03B2B812.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 5: Detail of first page of Cunningham’s notes for Shards (1987), beginning with “Grief to wail: 15 movements”. These notes are among the strongest evidence that Cunningham sometimes, if infrequently, began his works as an Abstract Expressionist, seeking to show emotion. The emotion in Shards, however, may not have been Cunningham’s own but those he observed in mentally disturbed homeless people who had been released from institutions under Ronald Reagan’s presidency. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b7cca542-1770-41df-b6c2-c98e8376e6b1/A72616AB-71EA-4DC9-815B-2DECD7469FC4.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 6. Detail of 5: the top right-hand page of Cunningham‘s first page of notes for the work that became Shards (1987). The date (“VI/19/86”) is June 19, 1986, the location in which Cunningham writes is Singapore. The following five notes are separate ideas for possible subject-matter: “Orestes after le meurtre”, “Jenny après le rape”, “Anger, no reprieve”, “Not Mozartian”, “Solo”. Orestes, the famous character in Greek mythology best known for killing his mother Clytemnestra, was the name of a solo Cunningham had made for himself in 1948. (My own belief is that each of these headings was Cunningham’s idea of a mentally disturbed person made recently homeless.) Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f17cfeef-46a2-40a7-9e96-a901cde256c9/152A2FA9-918D-41C9-9B0D-6042466DA96A.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 7: One page of Merce Cunningham’s preparatory notes for Points in Space, first made as a dance film for BBC-TV (filmed in 1986 in London, screened in 1987) and then adapted as a stage work in 1987. The reference to a Max Ophuls film indicates Cunningham’s extensive if not expert knowledge of films. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6b52f14a-414f-41f3-912b-dc6bab8fa6eb/8B047F88-2064-43B7-A098-F7CA0CAA3E40.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 8: A page, dated March 1986 and located Detroit (lobby of Westin Hotel), of Cunningham’s notes for Points in Space (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4a9eeafe-f635-45d7-be9a-a87265d9c3ad/7901BBA2-F2F3-4E24-9A7F-AA3A22CE118A.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 9: A later page (May 9, 1986) of Merce Cunningham’s notes for Points in Space. The names refer to Chris Komar, Karen Fink Radford (later Karen Eliot), Patricia Lent, Victoria (Vicky/Vicki) Finlayson, Kristy Santimyer. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dcd91472-8f0d-4640-9637-71649b0ea288/47583362-458C-42D9-974C-419075701CE8.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 10: A still photograph from the TV film of Merce Cunningham’s Points in Space (1987). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e8f1dec8-1365-406e-9250-0a5a655dd896/34AD7698-AA85-4CBC-B53C-E22E073F0B8A.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 11: A still photograph of the TV film of Merce Cunningham’s Points in Space (1987). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ef364ac1-8059-4de5-b94c-1962dbc874cd/F021EE62-C105-42FE-861B-6D14225F979E.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 12: The musician and composer Takehisa Kosugi (1938-2018). He toured as a Cunningham musician with the company for many years; he composed a number of scores for Merce Cunningham, including those for Doubles (1984, Spacings) and Cargo X (1989, Spectra). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/28f17466-bdf1-4e93-a88e-56acdaa9dedb/3F45BDA0-7DFE-4119-A0BD-523015466F0F.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 13: An initial page of Merce Cunningham’s notes for his Carousal (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/de5aeba4-f179-4089-b08d-2418de469c69/74A6AD8D-FA90-4E3B-A0C5-33D9C4DE19EA.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 14: Another page of Merce Cunningham’s notes for his Carousal (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/26fdaf13-15ed-443f-80a6-4070d9a4d0b3/F2274D53-A23E-49C7-BAB8-533FB6E78077.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 15: Another page of Merce Cunningham’s notes for his Carousal (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a613c989-fd10-49f5-b4d5-85d2f8acb32f/231D49BC-B72E-40FF-B094-E7A7734288B3.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 16: Another page of Merce Cunningham’s notes for his Carousal (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b0aa7f57-bd8b-4d4a-970a-d405d0586c7b/C26DB71F-F19E-4827-91DB-A6A35D29CA5C.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 17: Another page of Merce Cunningham’s notes for his Carousal (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ac8376ce-71b5-4fbf-b261-fde08e83c772/87F8A203-B9D2-4791-BA2A-CA20FF9DEAEA.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 18: Another page of Merce Cunningham’s notes for his Carousal (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6ffacc3b-0616-4671-9481-c84fcd219b97/A63C82D5-C452-4422-BAA2-4CA6FA65519D.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 19: Another page of Merce Cunningham’s notes for his Carousal (1987). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a479eebc-c494-48d9-9709-6125c98b58fc/0051E8DB-CDBA-4DE2-9E04-0B0BF3B67975.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 20: An early scene in Merce Cunningham’s RainForest (1968). Cunningham (left) and Barbara Dilley (centre) are approached by Albert Reid (right). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6f364fd7-a4c5-455e-86f3-0b722e316cfd/7FAFEA2E-41AC-4EF7-BA6B-FC1649C8D4F8.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 21: A year after the 1968 premiere of his RainForest, Merce Cunningham said that it had been inspired by his reading of the anthropologist Colin M. Turnbull’s book, The Forest People (1961). There is no close correspondence, however, between Turnbull’s book and Cunningham’s stage work. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0232b170-d432-4d73-8130-888bddb8cb48/3FCF1398-1DD2-4637-BA77-4A6C49FF3A9C.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 22. Cunningham’s initial notes for the dance that became Five Stone Wind (1988) began in March that year with his giving it the Russian name for The Cherry Orchard (Peter Brook’s production of Chekhov’s play had recently played at the Brooklyn Academy of Music). He then began planning his new work’s dramaturgy according to the entrances and exits of Chekhov’s play, beginning with “Lopakhin” and “Dunyasha” (in Cyrillic script). Cunningham had taught himself to read and write Russian in the 1950s. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bfae834c-1fe4-490e-928a-b61dcb32af59/6612771F-593F-4B70-AF43-4153E247A8B9.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 23: In the preparatory notes written the next month, April 1988, Five Stone Wind has gained its eventual name. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1737d841-d85d-4b40-a40c-407bdda1412f/CAA0E756-97F1-4646-9761-7659A1F927DB.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 24. A later preparatory page (June 1988), focused on the “Wind” element of Five Stone Wind. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1bc17c01-f18d-4da5-b641-e1fac0f2dd24/3D10D22C-D02F-402C-92A0-10805767B898.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 25: A page of notes showing the “five” of the title of Five Stone Wind in terms of the stage. The initials are those of the 1988 dancers. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/52c63b70-83c7-4483-a48d-8fd3c50e1d54/49B204B2-D548-4937-B912-356A1D44DF2F.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 26: Cunningham’s idea for Cargo X (1989) seems to have begun with a ladder he spotted on a French tour in 1988. This early page of notes shows some of his visual ideas, before the work gained its eventual title. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0e30146c-d024-4c39-87d3-58e96e2e5c8c/F4F8D5F5-2319-4C0D-99B7-C88F88B3CC8F.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham 27: A subsequent page of Cunningham’s “Ladder moves” notes for the work that became Cargo X (1989). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/36cc7230-70a9-48a6-9762-e272ff5daa5e/3E99EE84-FAF5-410F-8328-F2B41949E5C3.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 28: Some of Cunningham’s notes for Field and Figures (1989) confirm what all the dancers learnt in rehearsal, that Cunningham was thinking of the four elements. The audience did not have this information. Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a40a1593-3ad2-43d6-8c1c-a60a1871b7b0/503E688C-3162-4B07-B8C1-5EA2788C5FF6.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 29: Cunningham’s planning for two of the four elements in the work that became Field and Figures (1989). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/535d3ae3-9817-4da4-bd62-ea36a2515f1b/2ECA3289-F772-475A-AC4E-CB6C11E818F5.jpeg Essays - Patricia Lent, part 3, questions and answers 74-101 on Merce Cunningham - 30. A further preparatory page of Cunningham’s notes for Field and Figures (1989). Reproduced by kind permission of the Dance Division of the New York Public Library and the Merce Cunningham Trust. https://www.alastairmacaulay.com/all-essays/52a49fi0qz5s2o85qt2arhs5rnmooq monthly 0.5 2023-08-04 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7e401941-b08e-44e2-b22b-c6bd4c5a0f68/BE57D2A1-F80C-40F9-88E8-6B493D479BA4.jpeg Essays - The London 2021-2022 opera season: four new productions - 1:Peter Grimes, Covent Garden, March 2022 Allan Clayton, right, as Peter Grimes. Jamie Higgins (aerialist), left, as his dead apprentice. Photograph: Tristram Kenton. https://www.alastairmacaulay.com/all-essays/i83b9tf2d7xj0ve8m1sc8o77ijcohr monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e6c845a7-ae66-49c9-b0f3-d03622928e51/IMG_3449.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 1: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3a478889-3599-4d2c-abe5-f44d8ac15941/IMG_3451.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 2: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/648687f2-8e5e-4c86-b112-ac1cadbe5cfc/IMG_3453.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 3: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b72c5819-1e77-4d3e-ac92-9b364bd9c309/IMG_3455.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 4: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7879e60f-f204-4430-a875-5e97b34491ec/IMG_3457.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 5: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b669fc73-b6d6-4731-950c-e82810e71a15/IMG_3459.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - Make it stand out 6: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/80b33b4e-0165-408b-9983-573efd5448e7/IMG_3461.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 7: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8c639205-14b8-4a4d-83f4-aad69f1cf95c/IMG_3463.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - Make it stand out 8: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1f54ad97-7029-487c-a624-005b20479f7f/IMG_3465.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 9: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/486820d9-32d8-4986-8099-8f90bbc4b432/IMG_3467.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 10: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7c4a1fa2-07e6-4169-b183-0b746fffb6b9/IMG_3469.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 11: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1a0b148b-0514-4dc8-8ba2-06e546cbf860/IMG_3471.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 12: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c9de9b07-d036-4b82-bf69-724aa1406928/IMG_3473.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 13: Christopher Gurusamy. Raju Photography, 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/504eaeab-73ca-458b-8431-1f7af32a163d/IMG_3477.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 14: 20, Baron’s Court Road, London W14. Photograph: Alastair Macaulay https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/69285033-298b-49cd-8e96-f365fbef7e4e/IMG_3475.jpeg Essays - Christopher Gurusamy and “Krishna - Knave of Hearts” - 15: Blue plaque at 20, Baron’s Court Road, London W14. Photograph: Alastair Macaulay. . https://www.alastairmacaulay.com/all-essays/8p7hfc6xvzlk5wo4g67zqppajjpfkc monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5097fc3b-d590-4e35-900e-0dfa39fbdb9e/IMG_4234.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner 1: Peter Grimes (Allan Clayton) in the foreground, visited by nightmares of the opening trial scene in Deborah Warner’s Royal Opera production. Photograph: Yasuko Kageyama. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5b9a9088-0bea-4620-996a-5dd1f8dc49fa/IMG_4253.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner - 2: The dead boy (aerialist Jamie Higgins) appears in dreams to Peter Grimes (Allan Clayton). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/94712eaa-34c2-47dd-abbd-030b0bbcc5d5/IMG_4244.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner 3: Maria Bengtsson (Ellen Orford) with Allan Clayton (Peter Grimes). Photograph: Yasuko Kageyama. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8a1596f4-f21e-4295-af70-d4aca1d60a23/IMG_4237.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner - 4: Auntie’s two nieces (Alexandra Lowe and Jennifer France) dance in the village pub. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2e02dd81-e074-41a7-bef8-01b976e90265/IMG_4239.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner - 5: Maria Bengtsson (Ellen Orford) with Peter Grimes’s boy apprentice (Cruz Fitz). Photograph: Yasuko Kageyama. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/101ff73b-41cb-4ef0-abad-7ec359c48e7b/IMG_4241.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner - 6: Allan Clayton (Peter Grimes) with Cruz Fitz (his boy apprentice). Photograph: Yasuko Kageyama. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8b74861e-9cbf-4b5a-84ce-d71645a377d1/IMG_4245.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner - 7: Allan Clayton (Peter Grimes) with Cruz Fitz (his boy apprentice). Photograph: Yasuko Kageyama. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d5dc99e1-2013-4597-a550-ffd6f8401eda/IMG_4247.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner - 8: John Tomlinson (Swallow) with Allan Clayton (Peter Grimes). Photograph: Yasuko Kageyama. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2e08a000-b280-4e63-853a-703d65fb102f/IMG_4249.jpeg Essays - Peter Grimes and his dreams, thanks to Deborah Warner - 9: A village ensemble in Deborah Warner’s production of “Peter Grimes” turns dangerous. Photograph: Yasuko Kageyama. https://www.alastairmacaulay.com/all-essays/hnb9wopi0kakxuhp56zyzppo8k9ssi monthly 0.5 2024-04-17 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d7eb868e-d859-4a59-91f7-54d5bd5523a5/68145C4C-AFE6-4573-87AC-7B010E53207C.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 1: Patricia Lent accepting a Bessie Award on line on behalf of the Merce Cunningham Trust after its 2019 “Night of a Hundred Solos”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c9564e22-a0a6-469f-a636-55808b30b9fc/6BE7D8B5-7846-4591-B764-44F355BC8842.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 2: Patricia Lent demonstrating Cunningham technique in this century. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d1ca0140-58d9-4dbe-ad43-9f77d0453c4b/14B5AAE6-35BB-4816-A35F-A2033DF5FE92.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 3: Patricia Lent. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/93383190-fbc4-4f1d-a87a-d0bb386f6f5c/7B28691D-E73A-46A9-AF42-7C1B514A911E.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 4: Alan Good and Patricia Lent in 2019 demonstrating a sequence in the August Pace duet they had created in 1989. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/31686ed0-e99b-45da-ba7d-35f44b353399/220DCD62-2EC0-4545-8F97-16401434126B.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 5: Alan Good and Patricia Lent in 2019 demonstrating a sequence in the August Pace duet they had created in 1989. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bc90cb0a-d24c-427c-9d49-8853e67009fc/D50DF114-2D6C-4224-B64F-88C8B59C0DC7.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 6: Patricia Lent working with the cast of 2019 (Logan Pedom and Callejah Smiley) on the duet she and Alan Good had created in 1989 in August Pace. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3e245dcb-bbf1-448e-af02-ae3316e9e055/10A69DDB-B764-4AD8-BDC1-7FDBADA2D330.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 7: Patricia Lent working with the dancers of 2019 (Logan Pedon and Callejah Smiley) on the duet she and Alan Good had created in 1989 in Cunningham’s August Pace. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2469a636-ab64-402a-b283-7eaec2a61429/F83AC945-47F8-4A70-8AF3-6AA6F8A2F0F9.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 8: Patricia Lent in 2019, thirty-five years after joining the Merce Cunningham Dance Company, demonstrating a movement to two of the male dancers in the revival of August Pace (1989). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7d9032d7-5f0a-47ab-bc7c-3d30850a3522/8F379ED4-138C-484F-B6DF-54AC4F4FE176.jpeg Essays - Patricia Lent (Part 2) on Merce Cunningham, questions and answers 37 to 73. - 9. As Patricia Lent discussed at the end of this interview, Merce Cunningham’s notes for August Pace (1989) include this drawing of a man he had seen in an Arles street weighed down by heavy shopping bags. Cunningham was looking for a weighted quality in his choreography for August Pace. https://www.alastairmacaulay.com/all-essays/u1yd67pcqxerr66jt822pznyl5fptu monthly 0.5 2022-08-14 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/628082c7-8199-4cf3-8f52-458e24fbf084/1E43D86F-49A4-4AE0-A977-1CA11056CE2B.jpeg Essays - A History of “Giselle” in Warsaw in the nineteenth century, by Adam Huczka - 1.A lithograph depicting Konstancja Turczynowicz as Giselle in 1849. Note the "bras adorés", as Alexei Ratmansky has interestingly called this position of the arms The small bouquet of flowers she's holding refers to the "Pas de Bouquet" mentioned in the text. AH. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e1cf57a7-e698-4667-aecb-05440d3db931/37FDC8B1-566F-4D6D-801A-2C448B0CBB83.jpeg Essays - A History of “Giselle” in Warsaw in the nineteenth century, by Adam Huczka https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ae0f5d41-a6a0-4888-8dac-d0822d3721b9/8522A5B4-EBA3-47F8-A4A9-1AAEA37B5251.jpeg Essays - A History of “Giselle” in Warsaw in the nineteenth century, by Adam Huczka - 3.A portrait of Roman Turczynowicz, circa 1853. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cc7f1300-e2bf-427d-8e85-2c9c1c78b61d/5D3B4EF2-56C2-4DD9-8FC3-0B4B56EEB87F.jpeg Essays - A History of “Giselle” in Warsaw in the nineteenth century, by Adam Huczka - 4. The cover page of Giselle's program, 1848. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a7b7388a-466d-420f-8cc6-95ebd395a252/C63401E8-6956-4E06-80AE-DDCEEC2BECD5.jpeg Essays - A History of “Giselle” in Warsaw in the nineteenth century, by Adam Huczka - 5. One image of the Grand Theatre in Warsaw from the era of the first Polish “Giselle”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/23af54bf-f243-4d7f-9c7f-2813a65cecc1/CF469B8D-3744-4A86-8152-E12F5585EE76.jpeg Essays - A History of “Giselle” in Warsaw in the nineteenth century, by Adam Huczka - 6. This painting, depicting the Grand Theatre and the whole of the Theatre Square in Warsaw, is by Marcin Zaleski, circa 1838. https://www.alastairmacaulay.com/all-essays/directors-as-choreographers-choreographers-as-directors monthly 0.5 2025-09-03 https://www.alastairmacaulay.com/all-essays/d3z96iq7gi16p1vjd6sbmqw4epo2mb monthly 0.5 2025-06-28 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/12b46e08-01bd-4f00-8fb4-dbfb32b0c091/179626FB-EA27-437D-94A3-28057472B629.jpeg Essays - Sandra Neels on Merce Cunningham - 1: Sandra Neels - a recent photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3064f064-c0bb-4014-bcb9-2171811260d5/B287E335-54D6-412E-AB21-B07C2E797121.jpeg Essays - Sandra Neels on Merce Cunningham - 2: Sandra Neels in a 1960s revival of Merce Cunningham’s Nocturnes (1956), a work choreographed to Satie music and with designs by Robert Rauschenberg. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3c183945-f31c-4dc0-9cdb-829ce3736766/21B2C61D-466F-4166-9648-9EB04C49A048.jpeg Essays - Sandra Neels on Merce Cunningham - 3: Sandra Neels dancing amid the Marcel Duchamp objects that were part of Jasper Johns’s decor for Merce Cunningham’s Walkaround Time (1968). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e460a29f-a11c-47c2-9d65-537186ba1452/998B9AD4-4482-4F5A-9F2F-7CF46DE518D4.jpeg Essays - Sandra Neels on Merce Cunningham - 4: Left to right: Merce Cunningham, Valda Setterfield, Sandra Neels, probably late 1960s. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8f6a5fbf-d7ef-4afc-abd0-de9790ec89cf/1312898A-A2FE-4726-8A0E-F1EEAE420D4C.jpeg Essays - Sandra Neels on Merce Cunningham - 5: Sandra Neels in Merce Cunningham’s Landrover (1972). Carolyn Brown is directly behind her. https://www.alastairmacaulay.com/all-essays/hxkk2c6dslsry7h1s8n1zorc1usdvx monthly 0.5 2024-04-17 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c9855fcb-206a-4dd9-8cf2-4457d2bbf688/1E3DA00E-96CD-4153-B58B-8153225F1B35.jpeg Essays - Patricia Lent (Part One) on Merce Cunningham - 1: The ending of Merce Cunningham’s Pictures (1984): Cunningham holding Patricia Lent. When Pictures was new, Lent was the newest dancer in the company https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/eaa25585-ed45-49a2-a36a-bcd76d27c266/4626FC8F-3FC3-45DC-9CB7-97F7CE0CB184.jpeg Essays - Patricia Lent (Part One) on Merce Cunningham - 2: Merce Cunningham’s Fabrications (1987). Cunningham is on the left. The circle of four women jumping on the right has Patricia Lent (left, back to the camera), Helen Barrow, Victoria Finlayson, Karen Radford. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/33508fbe-b9de-4d0a-9cfe-cc169a7385a2/CACE252A-2227-4C96-8564-09D1CAF02F45.jpeg Essays - Patricia Lent (Part One) on Merce Cunningham - 3: Lent in a teaching or staging situation in recent years https://www.alastairmacaulay.com/all-essays/grx08uiu608j8i1139a9e6hvi37jj1 monthly 0.5 2022-06-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/021109e0-3f47-423f-a1b6-4b251b14adea/40FDAE45-5972-4B73-BEB8-E82337242B92.jpeg Essays - Visions of Cuba from Acosta Danza - 1: Paysage, Soudain, La Nuit, by Pontus Lidberg. Acosta Danza. Photo: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ce371261-967a-4dc5-affa-c088371ad4a6/2484D3D7-9E75-4C50-A99A-BEA8D73668FB.jpeg Essays - Visions of Cuba from Acosta Danza - 2. Paysage, Soudain, La Nuit, by Pontus Lidberg. Acosta Danza. Photo: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/620463cf-9131-46c2-9b67-193b66553335/5CEBB765-E21A-4104-8539-129C7663BABA.jpeg Essays - Visions of Cuba from Acosta Danza - 3: Paysage, Soudain, La Nuit, by Pontus Lidberg. Acosta Danza. Photo: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9095ec59-5efd-448e-aab6-39f80adf44b1/EDBFCCE9-7C1D-433A-9B3A-9B5DF05746C7.jpeg Essays - Visions of Cuba from Acosta Danza - 4: Paysage, Soudain, La Nuit, by Pontus Lidberg. Acosta Danza. Photo: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7538d685-f7f5-4672-9141-c1fae9152b4b/3D6C7067-18B3-4DB4-8058-A25A29D6A4E0.jpeg Essays - Visions of Cuba from Acosta Danza - 5: Paysage, Soudain, La Nuit, by Pontus Lidberg. Acosta Danza. Photo: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/67682b14-3eef-421c-9e43-eeeeb6c89992/AB3321D1-EE65-4D48-BA4D-F01B3CB0D9C0.jpeg Essays - Visions of Cuba from Acosta Danza - 6. Zeleidy Crespo in María Rovira’s Impronta. Acosta Danza. Photograph: Manuel Vason. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/be741cde-c81e-4eab-8bd1-35dcaddc2c15/4824E028-DB80-4862-BA88-5F333AC6FC00.jpeg Essays - Visions of Cuba from Acosta Danza - 7: Zeleidy Crespo in María Rovira’s Impronta. Acosta Danza. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4e8f407d-3bc0-4785-b28b-dbe95e5a340d/99E8FEBD-4208-4C2E-903D-97514BEBF20C.jpeg Essays - Visions of Cuba from Acosta Danza - 8: Acosta Danza in De Punto a Cabo, choreographed by Alexis Fernández and Yaday Ponce. Photograph: Hugo Glendinning. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b543d166-1aa4-4ac7-b58f-4e964fee0a57/6531DF68-2C81-4A78-A501-C460A18B2E1C.jpeg Essays - Visions of Cuba from Acosta Danza - 9. Acosta Danza in De Punto a Cabo, choreographed by Alexis Fernández and Yaday Ponce. Photograph: Hugo Glendinning https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5d4b56f2-a304-46d8-8ad3-6dbb060c9693/ACB9DFDF-413D-46C6-A199-BA64AEBC5FC7.jpeg Essays - Visions of Cuba from Acosta Danza - 10. Acosta Danza in De Punto a Cabo, choreographed by Alexis Fernández and Yaday Ponce. Photograph: Hugo Glendinning. https://www.alastairmacaulay.com/all-essays/zfh0aokmt7cx4vw8cmfzg1p41426a8 monthly 0.5 2025-06-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e1c0d48b-151a-4533-b362-62db7fa4810b/A9D0A5BC-3D1E-4808-BA56-C0512DDADE03.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 1. Merce Cunningham in Summerspace (1958), probably in the 1960s. Photo: Jack Mitchell. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f27ffb29-e07a-43fc-bbb3-e43925db4437/D68C3F78-45FE-4434-8C81-43FCCAFD5BF8.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 2: Margaret Jenkins. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/abf3ba9d-2441-49de-bdd4-ad7646c78a9d/B8C38FF9-4AE7-4590-9A59-11F0756E21B0.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 3: Merce Cunningham’s Aeon (1961), designed by Robert Rauschenberg. Left to right: Carolyn Brown, Steve Paxton, Merce Cunningham. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/27aa0cc1-272e-4829-8ace-ec632b14d553/D428882F-7652-4254-84D9-494E7FE8AE11.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 4: Merce Cunningham’s Summerspace (1958). Viola Farber (upright), Carolyn Brown (on floor). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c6aa86e-4a48-454d-8978-f4f17749b342/AA186063-FE48-46DB-98BC-58B6B5FA9F67.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 5: Margaret Jenkins, Birgit Cullberg, Merce Cunningham, at a dinner given by Cullberg at home. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cf8551d5-25f1-492b-9578-36a121b9a921/0771DB04-D52E-4D58-9C9B-6D8AF83E253D.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 6: Cunningham and Jenkins in Marbella, Spain l. See 7. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/de1d3c82-19fb-4c21-b986-7225d357ed4b/38E2D92A-B882-4B3D-9FB4-C4DBAF47783B.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 7. Jenkins, Cunningham, and Jenkins’s husband Al Wax with their daughter Leslie (left) and two other young friends. The photograph was taken in Marbella; Spain, where Cunningham and company were dancing and Jenkins and family were on vacation. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2650ee48-25a1-4b61-afbf-061a29217fed/970D4712-70EE-4E24-8D7A-C5B7AA36024E.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 8: Cunningham teaching in Jenkins’s San Francisco studio. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/555aa034-1c96-475d-8427-ebee521a9140/22B0EEBC-BC27-4998-83E5-6721DD6466C3.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 9. The cover of Jenkins’s notation score of Summerspace, now in the collection of the New York Public Library for the Performing Arts. When I first interviewed Jenkins in summer 2019, she had no idea what had become of her score, which she had given to Cunningham in the 1970s. He had kept it with his own Summerspace notes. After his death, it passed to the Library, where I photographed these few of its many pages in early 2020. Only two years later, in February 2020, did I remember to tell Jenkins that her score was in good hands. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8686d4ba-2e3b-41e0-8a32-8b2fed332b78/24C86477-193A-4EAA-84F8-9673EE0EEB53.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 10: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9e40fb07-06bf-4c70-8f98-d0e1448cdb65/60F95D52-121E-41A2-9289-110EA2019991.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 11: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c2af2393-e4d8-43c1-aa85-0b209754cbbf/FEA90DFC-38AA-41CE-9450-1A7E676800F8.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) 12: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/97b9b616-2c67-4f0b-a1df-e13db93c59ad/0FB4C9BB-E0BB-42B2-9676-CE3EDD8A815F.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 13: In this page from Jenkins’s notation score for Cunningham’s Summerspace, the names refer to Carolyn Brown, Viola Farber, Barbara Lloyd (Barbara Dilley), Albert Reid, and Sandra Neels. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/29557746-7c05-4345-820e-54a647ce5719/7A41AFA3-D3A2-4BBA-BE84-5254FC2AF081.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 14: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e407a8ce-5030-4e08-936f-d3a61c220fb4/29005D56-0F9D-47E1-8493-C26C5A5F2346.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 15: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/14986195-45d6-44d6-8e87-733bf9e1b462/7006C3B4-2679-4B3D-8A67-7928A255945A.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 16: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ce78a058-0147-443f-8668-371d1ae37a39/9F173A8E-BF2B-456C-9F3D-DF6CECB24B8B.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) 17: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/936d75d2-fe8a-47fd-89a6-f97d68632b67/FADE49DA-0A60-465D-B62D-E4E7670528DE.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 18: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/960e5b85-059b-4be1-bd0e-dd82a2e4c5a7/E823F61D-15BC-41AF-8E34-6E128B97AA0D.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 19: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b8e701f2-f8bb-4fcb-b05f-1bce5aca7eb2/1D526895-301C-482B-84BC-768D8DD1F571.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 20: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d5dd665c-0681-4211-adbd-02834178f6df/41410E49-A694-477D-A4ED-BDD6F2007397.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 21: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1bdfd2ea-8a7f-4005-9371-df3a78952dda/FAEBF5E0-6FE8-4BAB-A862-100DA470890C.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 22: A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of Jenkins, the Cunningham Trust, and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/39dcb61a-7369-4180-94c3-058263cd6be1/E41A896F-BD7B-4F3D-B23D-3E363D38484D.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) 23: A page from Cunningham’s own 1958 preparatory notes for Summerspace, indicating the ways in which he planned to use chance as part of the composition of this work.A page from Jenkins’s notation score for Cunningham’s Summerspace. Reproduced here by kind permission of the Cunningham Trust and the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/57f4dea8-d71d-4fde-9ddc-4cb57af75ea2/58FAF446-C15B-4AEE-BE37-BA37CAE62F0A.jpeg Essays - Margaret Jenkins on Merce Cunningham (and on Carolyn Brown, John Cage, Brigitte Lefèvre, Sara Rudner, Gus Solomons Jr, Twyla Tharp) - 24: Another page from Cunningham’s own 1958 preparatory notes for Summerspace, using Velocities as his working title. It is characteristic of Cunningham that he used one title till well into composing the dance in his notes. As he discovered more and more about the work he was creating, he would then choose the eventual title. In this case, he learnt early on that Velocities was about a new use of space; only later did he find that it had the atmosphere of summer. As a rule, when he commissioned designs and music from painter/designer and composer; the eventual title was among the very few things he would tell them about the new piece; he had yet to begin rehearsing it with his dancers. Reproduced here by kind permission of the Cunningham Trust and the Dance Division of the New York Public Library for the Performing Arts. https://www.alastairmacaulay.com/all-essays/rrosfhndk893uqhokr7nf5qgpwlwj8 monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ae64a8b1-24d0-4470-aac4-832f50a9c49f/IMG_4801.jpeg Essays - A new English National “Little Vixen” - 1. Claire Barnett-Jones (Dog) and Sally Matthews (Vixen). Photograph: Clive Barda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8ebbcfb9-b756-4868-9ac3-c809e9343d4a/IMG_4808.jpeg Essays - A new English National “Little Vixen” - 2: Claire Barnett-Jones (Dog) with Sally Matthews (Vixen). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/31d9878a-1176-4720-8626-cb06ae70e408/IMG_4806.jpeg Essays - A new English National “Little Vixen” 3.Sally Matthews (Vixen), Lauren Morris (Hen) and Clive Bayley (Badger). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/64a9b621-7246-4b2e-900f-1374d72eeee5/IMG_4820.jpeg Essays - A new English National “Little Vixen” - 4. Photograph: Clive Barda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/77885d3b-9d23-4c13-a83f-c7f309579458/IMG_4822.jpeg Essays - A new English National “Little Vixen” - 5. Photograph: Clive Barda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/009ec9c3-b0d5-4ea6-8be0-a020e04f92a0/IMG_4803.jpeg Essays - A new English National “Little Vixen” - 6. Pumeza Matshikiza (Fox) and Sally Matthews (Vixen). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/63eb4284-3079-4fe5-9f85-f1659eb8a7d7/IMG_4812.jpeg Essays - A new English National “Little Vixen” - 7. Pumeza Matshikiza (Fox) and Sally Matthews (Vixen). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c3f5025-d641-47a8-a86e-f1d3b2e3ef76/IMG_4824.jpeg Essays - A new English National “Little Vixen” - 8: Pumeza Matshikiza (Fox) and Sally Matthews (Vixen) . Photograph: Clive Barda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/eff223ad-5f18-4e70-a4bb-68ef36855fa8/IMG_4810.jpeg Essays - A new English National “Little Vixen” - 9. Lester Lynch (Forester). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6374566a-94cb-4f7d-9e7c-9584a1a472f3/IMG_4818.jpeg Essays - A new English National “Little Vixen” - 10: Photograph: Clive Barda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/78068874-1f37-40c6-84f9-8c0ac8d9822d/IMG_4816.jpeg Essays - A new English National “Little Vixen” - 11: Lester Lynch (Forester), with a fox cub. Photograph: Clive Barda. https://www.alastairmacaulay.com/all-essays/4ca13qoim443g9cvf4flibfzxoyagi monthly 0.5 2022-06-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9258618c-56c5-47dd-985a-1056187a2463/A9349999-EF87-4B7B-9B93-47EF3449AA06.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 1: The temple at Mahabalipuram, Tamil Nadu https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8a8a49ca-b981-4791-8de7-c106160cfe60/8B7FA1B4-4F20-4B3E-9772-4469A0421F40.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 2: “Arjuna’s Penance”, Mahabalipuram https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e96a823f-11bb-429d-869b-11e4cbdf129c/E75B980B-CC19-4293-9A86-42DFECD6BD9C.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 3: Inside the temple at Kunchipuram, “Hall of a Thousand Pillars”. Such halls occur in a number of the temples of Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4c888d9a-12cc-49f0-abc5-ea1cc1189ebf/ABC355E2-487D-4060-9142-A0A75585751C.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 4: Single-stone sculpted pillars in the EkambareshvaTemple temple at Kunchipuram, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/978bb0fe-1a9e-4dd9-b4ec-5905daf45f99/24BD841D-25FF-44E2-95FF-3EFDA007D3A4.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 5: The sculpted elephant on the roof at a second temple, the Kailasanatha Temple, at Kunchipuram https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c9e835bf-03e9-4caa-bcb9-3e44d01138a7/767784E3-E422-4598-92F5-761B6ABEE681.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 6: Monkeys at Mahabalipuram, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fab0beed-dfb2-48f1-879b-73ec78204dc2/627B5CC9-7429-40CE-B699-7E3AA51FF814.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 7: A ceiling at the Sri Meenakshi-Sundereshwarar temple entrance, Madurai, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aec1d310-0d34-4552-905f-9070b974ac2e/21FEBC9A-2DBC-471A-9630-20A809CDBF62.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 7: Some colours and pillars at the Sri Meenakshi-Sundereshwarar temple, Madurai, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6dd07a3e-7592-4333-8b69-d35760f82820/23D3676F-FCDA-45B1-B4EA-6B66082D9A3A.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 9: A ceiling at the Sri Meenakshi-Sundereshwarar temple, Madurai https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4ff08651-e8ce-41cc-8243-28fcad6404ff/ECA9B2C0-DBB2-41F1-A08B-271CD4539C73.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 10: A single-stone pillar on the Sri Meenakshi-Sundereshwarar temple, Madurai, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3260c491-75b9-46bf-832a-a8e639d57214/C6BADAE8-88CF-453C-B4E7-FC2227FBF23B.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 11: Another single-stone pillar in the Sri Meenakshi-Sundereshwarar temple at Madurai, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/86db1d55-a22a-4c1a-876d-d19902a2b5ac/92D6C873-85F6-4C05-A21B-ABF77D0642BE.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 12: Another single-stone pillar in the Sri Meenakshi-Sundereshwarar temple at Madurai, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c0ad4eec-4fc5-4ffb-a3ee-fd6839f51b4b/C22D7669-A01D-41B2-8755-926DCFB33363.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 13: And another single-stone pillar in the Sri Meenakshi-Sundereshwarar temple at Madurai, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/981ae3a1-3254-44a4-8a69-bcf1df9fcd2d/6318F677-C94F-4866-BE82-E1E2CCD511BB.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 14: Two gopuras (steeples) at the Sri Meenakshi-Sundereshwarar temple at Madurai, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bec7c189-9291-40f9-9275-151d47495774/4980F522-9C37-46A9-B0DC-33DDAA5D548D.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 15: A chamber in the room at the palace at Madurai. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/156cc2fe-bd03-4ee3-9962-5f732b91d0c8/B58D8501-7826-4E2D-96D7-107557184C77.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 16: A view of a courtyard of the palace at Madurai. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e2bf28cc-3dde-4d15-b597-757dcb460bf8/4F039823-4EA8-4894-A568-026E6B7A3185.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 17: The Vandiyur Mariamman Teppukulam tank, Madurai. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aa04bf2d-63b4-4d14-82a2-23daa3c3348a/B0481AE2-8864-4869-A4BD-9C9FDB67B396.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 18: A panorama of the temple at Thanjavur, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1c2f9e5e-c438-4e19-b51d-653d6cd95d8e/58CFCD90-34B1-42F1-8044-E7FD59CBC0DE.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 19. The main gopura at the temple at Thanjavur, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3febaae6-7b41-4e7f-867b-38b0f5b5b003/F1ADEE8A-B7F3-4DF6-A8F7-60D28C507E48.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 20: A moment at the temple of Thanjavur like the entrance of Nikiya in “La Bayadère”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f851abec-6266-4d39-8d19-e49528ead6b8/4D416C91-C41F-4BDC-8280-B3E5A9550E13.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 21: evening sunlight on a gopura at the temple at Thanjavur, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/38fdc650-06a0-4526-99dc-a96d9249203f/17E74B38-C1AE-4C16-A958-2BE30F1AC787.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 22: A young adult couple in front of the holy bull in the courtyard of the temple at Thanjavur. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/066f9caa-9145-416b-af87-267391a01929/695F3D25-949E-4D47-8984-A2E976290CA9.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 23: A gopura of the temple at Thanjavur, Tamil Nadu, in the full glow of sunset. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5a39ce0d-73b8-4a47-a356-acf991ae21da/C9C329B5-B9BB-4E68-A697-8D88793A2FEE.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 24: Another row of pillars in the temple in Thanjavur. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5431b00d-abf5-4ea1-be9c-0ed5b07cc304/7E2AFB21-443C-45D2-8381-38B53F218B61.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 25: Sculpted pillars on either side of a window in the temple at Thanjavur. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7cd6bd85-d304-4c32-8693-7c2dad1f55e5/3FB52FFE-B5DA-40A7-AB94-B27092EC8EE9.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8bffcd40-ac2b-410c-8ac8-7414f2daeab7/46C14983-97E5-4175-AFA0-F2A3B32A6B79.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 27: A once splendid open courtyard in the largely run-down royal palace in Thanjavur, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6051b06c-6a9e-4e29-8b6f-326d5484e158/FF156B93-AA73-406C-A10E-A81E7BCCBCB3.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 28: A Chola bronze of Shiva Nataraja in the royal palace at Thanjavur https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7832e0b2-09ad-4254-9f91-2fa31b527c87/639893A1-A157-4C2A-9790-BD90FFE606D4.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6497584a-c406-4e29-ac6a-41fd9f4c94ca/D8C9C8C4-5198-48C2-9F3F-FF4AC67DBA1B.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 30: A Chola bronze of Shiva with a deer in the royal palace at Thanjavur. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7e5145b8-9037-447f-8582-c38239f3cd8a/49AEAD89-DF44-47D2-AFBA-3A82BF1B0F2D.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 31: Chola bronzes in the royal palace at Thanjavur. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c34ea8de-2517-4264-88e9-7d74aae9d0bc/FE8514E3-76CA-4089-9E49-547334809CAA.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 32: A statue of a “dancing girl” (a devadasi?) in the royal palace at Thanjavur. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/27aeffaf-0002-4fdb-856b-7a6187a72d35/3EA8A781-396C-46B6-B264-5F7E826E1A10.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3840d956-6c0c-490c-a076-d2973ed565ca/09F11A29-A722-4267-9134-2F8BD968BABA.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 34: A second photograph of the last remaining Mahari of Orissa, dedicated as a musician to the temple, aged eighty-five in 2012. (She has since died.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dc4e05d8-b53e-4d50-a6e2-5a2157b0f3ec/29748458-B05C-4681-88ED-6DFF28850E13.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 35: The temple of Gangaikondacholapuram, Tamil Nadu. To this Western ballet-goer, the presence of a well in the foreground makes it an alternative locale for the opening scene of the “Indian” ballet “La Bayadère” (1877). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3e091bff-b947-492c-b172-14ff9e6ddc82/8F9C4043-95BD-455C-9B54-F4D9084411D8.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 36. The base of a pillar at the temple of Airavateshwara, Darasuram. The base is decorated with images of dancing girls (devadasis?). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1b0d98da-d8e0-4b62-aae7-716eb407483c/25DF9E4F-F8ED-409A-93B2-AE432E9F3718.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 36: A ceiling in the temple of Airavateshwara, Darasuram. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ae1f0b1b-5331-4a34-8a0a-ea0965cf72b8/46C1D780-B4B0-450D-B173-ED036E423A8D.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 37: Gorgeous stair decorations at the temple of Airavateshwara, Darasuram. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a75d219e-4fb3-491e-b1f4-2996790029a7/7E9A35F5-DE90-46F3-826E-E0697B88574A.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 38: Further stair decorations at the temple of Airavateshwara, Darasuram. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dcbd2168-faa7-4dfd-82fb-8cefc2c3f2c6/968EF72C-471F-4F7B-B059-68B2F3C2D62C.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 39. And further stair decorations at the temple of Airavateshwara, Darasuram. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/09a0c1d6-776b-4724-8d2e-df5e1273ebb0/6962CBD6-985D-40DA-ACBB-3CDC63CA163A.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 40: An avenue of pillars in the temple of Airavateshwara at Darasuram. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/96c6cf7c-3f9b-4ec7-ad1a-2fb2acf1af8a/0FB9233D-29F2-4AC1-92F5-EB642BC7E611.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 41: Another staircase, another temple, Darasuram. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/680cb248-a743-419b-a975-c375a767b43d/2131B06D-7376-46CA-9352-CC353BBD67A5.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 42: The Mahamakham tank at Kumbakonam, Tamil Nadu https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9d1b17db-c929-4fea-870d-16672c786584/74DE9EED-03FB-4063-9971-FEAEAFFB6644.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 43: flowers for sale at the temple at Srirangam, Tamil Nadu https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c635a61d-e974-4354-a127-5b4e49d76bb3/93716AA0-CF7B-4760-A845-24412AA11E0B.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 44: Panorama of Srirangam as seen from Fort Trichy. Even though the temple’s two tallest gopuras dominate the view, even the much smaller intervening gopuras remain taller than anything else. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e6594f51-d3bf-4b3d-8036-80a9b9e9e042/027B5EC3-0BAB-4A02-9D04-7FC8329B9FBE.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 45: Within the first courtyard in the temple at Srirangam, Tamil Nadu. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4469588b-ae0f-45d0-8bf0-cdf467afb99f/AB320943-F8B8-43B9-89E3-4AB0DD4FE128.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 46: a pillar at Srirangam, probably from the fourth courtyard. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b22010a2-d3f2-4485-a7d4-07cc5d4b0379/C75C9149-EB57-4656-803C-9971A59B1FE7.jpeg Essays - In India II, mostly on dance and Indian temples, 20-96 - 47: a corner of the second gopura of the temple at Srirangam, showing its Disney-cum-Bollywood detail. https://www.alastairmacaulay.com/all-essays/q6hfi4or3h8yb7hq9pr5pfcjzxjthe monthly 0.5 2022-06-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cfc2631f-ded5-4feb-bdd6-8b48ae1c210a/ECDCE9C8-69D1-4E62-A581-C5E9A20D0D50.jpeg Essays - Nearest to the Workings of Shakespeare’s Mind - “Love’s Labour’s Lost”, 1979 - 1: Michael Pennington as Berkeley in the Royal Shakespeare Company’s 1978-1979 production of Love’s Labour’s Lost. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/93706197-1b9d-4bfd-a46e-cc7594b089c9/86B1A3A5-C0B3-4B8C-A74F-AC11E55E539B.jpeg Essays - Nearest to the Workings of Shakespeare’s Mind - “Love’s Labour’s Lost”, 1979 - 2: From right to left: Richard Griffiths as the King of Navarre; Michael Pennington as Berowne; Paul Whitworth as Dumaine; Ian Charleson as Longaville. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c4a41f59-248b-42bf-9903-719e178c9677/EE231D93-89A2-41EE-AF5E-EDA1EBD0CE07.jpeg Essays - Nearest to the Workings of Shakespeare’s Mind - “Love’s Labour’s Lost”, 1979 - 3: Right to left: Jane Lapotaire (Rosaline), Michael Pennington (Berowne), in John Barton’s 1978-1979 production of Shakespeare’s Love’s Labour’s Lost. https://www.alastairmacaulay.com/all-essays/313m0rdes4fsw3nug3p410qakhbeg1 monthly 0.5 2023-09-03 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f4304976-9292-4532-bfec-dc860fd655f3/FAB13BB6-7925-41A9-A4F9-51DE7063403C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 1. Henry Danton in Frederick Ashton’s “Symphonic Variations”, 1946. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/045ad63f-63e4-4ce2-8787-bcfe0b7983ee/78F7BB41-D0B2-4ECC-94EC-D73CFC7E4B8A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 2. Henry Danton (left), Michael Somes (centre), Brian Shaw (right) in Frederick Ashton’s “Symphonic Variations”, 1946. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dab5a457-68b6-48ea-8ee4-144d058f4965/B77615AB-87EC-46EA-AF75-729745DE1138.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f669f2fd-420c-412f-b064-34470ba35148/21359EAA-13B5-476C-A532-B17EF0D060A0.png Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 4: Henry Danton with four of his Covent Garden colleagues, seventy years later: Pauline Clayden (left), Jean Bedells, Danton (centre), Julia Farron, Gillian Lynne (right). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2225afb6-ce6c-40fb-a0dd-dbee407ad8d9/76AEAEA0-E050-4B1A-86B0-17E4A470A99D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 5. Danton’s first email to me: I had arranged to meet him at Café Luxembourg, New York. Having met once in London, this was to be our second meeting. In the event, it would also be our last meeting, although we hoped to meet again and corresponded until 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/735a4cad-5923-46f2-9ce0-66560a50cc57/527FDC19-4787-4B00-9121-79688302F76A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 6. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1b2747ad-b45d-4df8-9fe0-596ea62096f1/E2A3987A-313D-4932-93E6-82C9BEFC18BA.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 7. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d49c5bce-ddb5-416a-b38b-2a0aa71f1d52/9299A1F6-CB56-4F61-B280-7205C677CCC8.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 8. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2809ab49-820a-4fca-be34-c94a3ace7c68/E3D32044-9004-42F7-BA86-5F8B8583D575.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 9. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7190bdef-2fe7-49e0-9fd0-36b35b471ad5/0E095C0A-299A-42C9-B71E-0C5040EE8BDB.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 10. Here Danton refers to the 2014 documentary about the effect the Second World War had in making Britain love ballet, or at least in taking greater pride in British ballet. He refers to the seven minutes of silent colour film of “Symphonic Variations”, possibly at its second performance (some say at its dress rehearsal). He, like the documentary, neglects to say the film is played right-left instead of left-right. Actually some eighteen minutes of film clips of perhaps six 1946 performances of “Symphonic Variations” (it had at least fifteen performances in its opening season) have surfaced, not on YouTube but at Huntley Films. They are played at different speeds and all from pronounced diagonals, and all projected the wrong way round, but they are an exceptional record that suggest the ballet was very different in style in that opening season. In one of them, Gillian Lynne replaces Pamela May. She referred to this in one discussion, but Danton knew only of the film that showed the original cast; although he and Lynne had been friends, he spoke scornfully of her being erroneous about this identification. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a8692165-f3b0-4844-b944-68822b72cd2c/5F2C8A70-F032-4052-9DDB-CA218C08A17E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 11. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/456f55d8-a81e-442d-ab9f-728f5c90dbda/89DA164A-A38C-4B14-99B3-A9E9F5D30D8C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 12. I do not know to what Danton refers here, but his remark demonstrates the residual and increasing Anglophilia of his final years. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aa8b4957-65b0-4df6-84f4-70adf8efdd6f/E6A602EE-2B36-4187-8DA2-0A830D8CAFC8.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 13. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bd775b73-ff91-40b5-b791-048e6412956d/76B557F0-2148-423D-9337-E691D64F1A41.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 14. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b1b3647e-78de-445d-9963-6c4bf879da6b/BB9F7E4C-3397-407B-8450-97B1C1194CA4.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 15. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/89c23bb0-a0d6-4c07-9ac2-6e94914dbf21/53304878-10FA-4491-A01E-3B60C2AE195B.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 16. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b302a96b-de16-4819-9b45-5c6024437f51/47800529-1228-4C81-B5A2-A2A4A52E3F6E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 17. Sergueeff, Sergueyev, Sergeev: there are many spellings of the one name. Danton worked with him during his six months (1943-1944) with Mona Inglesby’s International Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7cd65b51-e839-4bf5-bbc3-5a0c85ca6b03/6AD3C654-E49C-42D0-89F4-362B17A4B851.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 18. Danton was proud of having studied Stepanov notation and having conversed about it with Nicholas Sergueyev during his time with Mona Inglesby’s International Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/367e16f9-f79e-4549-bcb2-ff8417caead7/E903790E-C78F-4E33-B363-7DE4D096C630.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 19. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/db4c1732-1186-4482-894e-ceb6f4baf998/3ECFACC0-7FB3-4FF9-AB76-A3453E629F62.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 20. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c45630b0-ee5c-4d48-a3f2-be528faac543/CAB9BBD4-4CE0-4EDA-82A6-B3A8084D7729.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 21. In 21-25, Danton reacts to my “Sleeping Beauty” questionnaire with Alexei Ratmansky and others. This questionnaire may now be found on this website. Since Danton had known Nicholas Sergueyev, had studied Stepanov notation, and had danced in (and observed) the 1946 Covent Garden production of “The Sleeping Beauty” (and probably in the last performances of the 1939-1944 production, originally staged by Sergueyev), and since he had staged a “Swan Lake” in Australia on the strength of his understanding of Sergueyev’s production, Danton’s reaction is of particular interest. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/93932fd3-b643-4f66-9e99-b57167a2541e/CBD310D8-EFDE-4161-8A94-C288935BD59A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 22. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e18927fb-56fe-42fd-a6a6-327fdc57e4cc/752D81E4-86EE-4C47-95CE-25DC9F0913E9.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 23. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/44a28ed8-9b86-4fa3-ba52-e03050474c6a/CE9C0D10-28A4-48BF-97F4-62F85CBA4554.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 24. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2c3a5998-eacc-46b7-8f46-e9e6af0a0f76/57875361-C03F-42B8-B16B-67ED71FF5899.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 25. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cc446f65-918b-4ac1-b05a-e05d31203c01/EFE1E32C-CF13-448D-A8F4-8CA2F0A116DF.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 26. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a4bbe874-e8b4-41f0-a121-c37afbfcf9f4/A38A14A0-1B20-4566-A7CD-1FC2E755403E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 27. Here Danton, hearing my second-hand report of Michael Somes’s poor partnering in his early career, gives a flash of malice about Somes, whom he did not admire or like. In a later email, he writes “Somes Ugh”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f3153331-ac59-4508-b1bf-76087b3c5a62/B0BA5008-735A-4181-916D-2A6DFEFD4C05.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 28. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cd3835f3-19e8-4bbc-ace2-df710b2fb4ba/FBFDB40C-139B-441F-9961-38FB76540304.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 29. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c930df7-dce8-4029-80f8-7dc24ba73db0/C260D053-6414-4029-99B4-08D7E5F6F1EA.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 30. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1c6be550-acac-4cad-9157-50e6bd050b54/AF642750-3B34-47CA-B407-2F063BB58178.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 31. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f70c8090-3c11-4e33-b061-3413149079c4/E748D7B6-AEA1-4F6E-85C8-33A1691DCF1E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 32. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d2c4563b-9706-4628-972c-ccaf4953e891/0C20E77C-07DC-497E-9807-07B7D469A2EC.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 33. I had reached my sixtieth birthday in 2015. Danton’s remark about thinking of me as “a most desirable 30 something” referred back to the first impression he had had of me in 2009, when Valerie Taylor Barnes had sent him a DVD of the Lincoln Center Bruno Walter Auditorium commemoration for her late husband, Clive Barnes: Danton had lunches with Clive and Valerie in the last year of Clive’s life. I was fifty-four at the time of the Bruno Walter event, but something about my looks, my English accent (that above all), and my manner seems to have gone to Danton’s heart before we ever met in 2011. In emails of the years 2015-2018, his expressions of affection for me turned into various protestations of love, complicated by his own conflicted sexuality. Although I was flattered, I was also perplexed, and did not reply with any seriousness. After his death, I discovered that he had often lost his heart to various men (a wide selection) over the decades. In 2019-2022, his affections had moved on to someone quite unlike myself. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/381c7e42-74f2-4cac-931a-4eaf5fc64eeb/4C979750-0C35-48A5-A2FE-7B506E544515.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 34. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f1f2f9d7-7aff-4350-b474-9292386cf2c6/2D7D20E4-4DDE-4EFC-9575-7E68D09C854C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 35. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/41f5e505-2f43-4f11-b528-4c083594ab23/653FEC14-7F83-4AC6-80B8-72C35E94EE4A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 36. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/758200d5-9d86-4f60-b635-fd00a1e40788/B34D8518-2538-4A81-BEB7-4CB9B7A6EB5B.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 37. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ff420ec0-14cd-4d45-9cde-daa260a3659f/17C5ABC4-AF9D-464B-BEE5-96A8E25DDD06.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 38. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c143c038-7fd8-4441-9b80-6392188982ab/2FB6A623-1B5F-496E-BE52-E494EBE4B29A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 39. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a920081a-df0b-45cd-8221-0be1c80c8207/D3C3751B-C37D-4DB4-AE8D-CE9364147222.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 40. On January 29, 2017, Danton wrote me three successive emails, here reproduced as 40-43 (42-43 include my own initial email to him and the email from a colleague that prompted it), 44-46 (in reply to a quick reply from me), and 47-48 (in reply to another reply from me). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6433ceae-7072-44d0-92a1-7b610ca6b8f7/ECE5B251-0308-48AE-A731-366082E079F2.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 41. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fd9daf79-7e62-4419-85f1-5bcd5de93e55/8979A38C-585D-49D5-9DF5-B2F6C82EC67B.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 42. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/41f8debe-0d4c-4b00-9f1b-15e27e93c8b7/3B3AF08C-F523-4CD2-8825-8DDC4F956864.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 43. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5244e5ae-590f-4f63-b944-637f3cf0893c/182D7A58-F5C0-4DD1-87ED-CB4E07F091A3.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 44. In his second and third emails of January 29, 2017, Danton replied to my views of Ninette de Valois and Frederick Ashton, neither of whom he liked. I am not sure his recollections of them in 1946 are quite accurate; he may have decided on his own version of the reasons he left the Sadler’s Wells Ballet in 1946. He insisted on his reasons for disliking de Valois; I shared some of his reservations but pointed out reasons to remember her charm and her vision. He was not alone, however, in blaming de Valois for not engaging Vera Volkova on the Sadler’s Wells Ballet staff; Volkova remained the most admired teacher of the day, valued especially by Margot Fonteyn. Danton claimed that he offended Ashton by rebuffing Ashton’s sexual advances, but in one 2011 conversation he also said he spent the evening at Ashton’s flat when, at a late hour, Michael Somes arrived, as if making sure that Danton moved on. Somes, though generally heterosexual, knew his status as the great love of Ashton’s life from the late 1930s up to at least the mid-1940s. Ashton, however, seems to have been capable of entertaining more sexual affections than one simultaneously. Possibly Danton did too, but, throughout his life, was capable of denying any capacity for “that kind of love”. If he rebuffed Ashton by claiming that his inclinations were more heterosexual than they were, and if Ashton felt Danton’s affair with Volkova was sexually insincere, Ashton could well have been barbed to Danton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/201dc30e-03fe-49d3-8089-d2754ad2e65c/0EC5A9AA-6EE9-49C1-981D-AF6F432D5774.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 45. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bbff629f-bcba-4bc8-93e0-6b4764348be9/675A46D9-EA2A-49B7-B161-15BF83922C63.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 46. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dd835abc-cf04-4868-b486-05c18ff48693/75429FA4-99D5-49E8-A291-69ACEECC0404.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 47. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5fb2366e-eb38-4dff-ad96-81240a3aef45/79A89683-FCF9-436C-9809-669890B28579.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 48. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/809ef240-1c39-47d4-a474-56197d6763cf/189C181D-2A8D-4E46-9621-CD336C11E1C3.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 49. Nos 49-51 are two successive replies to one in which I had sent him a YouTube video of a 1977 Royal Ballet performance of “Symphonic Variations” (led by Merle Park and David Wall) at Elizabeth II’s Silver Jubilee gala. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/afc8ad0e-0dbf-47a8-bba9-37256554a0ac/43CF2683-59D9-491D-820E-FEC8084C6E47.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 50. Nos 49-51 are two successive replies to one in which I had sent him a YouTube video of a 1977 Royal Ballet performance of “Symphonic Variations” (led by Merle Park and David Wall) at Elizabeth II’s Silver Jubilee gala. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3de08f7e-24a6-4cf3-a424-5682cbd14295/5D34CABC-7BE8-40D0-BF22-AA19A2E7D97D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 51. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8b11eb35-28e3-4c10-9e97-d3e0a3a8a107/1C77533D-F5FB-4686-A4C0-D3EE142ACECC.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 52. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7003d76b-157d-4a37-ba33-a6f96ba700e1/8F6F1077-9EAD-43C6-B0E7-55D5CA9ABC0A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 53. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/795f8784-3b0f-4e8e-819c-a73d65d0e6ea/437146F2-3BF1-4B1A-814B-056234448C08.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8e1581d7-c7e5-4297-8da4-09a03d1811c2/37C798A2-13C0-44AF-AE94-2646BB5117BC.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 55. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/74c39ed4-c5f3-4d3d-80c4-bf3adb14bbc6/B6AD8F7A-3633-4BA9-8F26-5767B278F6F6.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 56. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5315fe6f-ecd2-4f2d-84e8-2502c42ff2c0/DC0793B5-999D-47B5-8F6B-15ED351991C1.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 57. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f6374663-8ab1-4abf-a141-5e95408385c1/0570B06D-6941-4377-9F8B-4AC52D319724.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 58. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1046d0d7-6f21-4d7f-af1d-62d93f50c5e8/B48862AD-0B17-4F10-9F20-A3A2A380543E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 59. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/968b3d70-d95e-48d4-b249-f7cff447acf2/000D3E3C-6642-4E9B-BA02-3554EFDB86FB.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 60. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/12289e58-957e-4c57-920a-c23a522bec36/BC5AF7EE-5622-4A18-A133-3F2E8FBF947E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 61. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/305a0445-c93c-4f67-94c4-0462bf82d482/1150D917-0734-42FE-85F1-F18BA2705AEA.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 62. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a27cdad6-9a5b-4d5a-8f05-2b4f276601e0/2EE5A7A1-BCE3-4C22-94CA-8F8C8C549472.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/57f5a724-6da6-4618-8348-4479d8e2afed/97CBB381-BB92-49C0-A379-E1D5E9B067FB.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 64. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1b103e5c-0e4f-43a7-8ace-8939eaef746a/48FD579A-2665-43CA-B86B-260E0FD1BED1.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 65. Here Danton attaches Kay Ambrose’s sketches from the Covent Garden April 1946 dress rehearsal of Frederick Ashton’s “Symphonic Variations”. At the top, he is showing in the grand jeté . Below, Ambrose shows (as seen from the side) Pamela May, Margot Fonteyn, and Moira Shearer in the women’s opening dance of “Symphonic Variations”. Danton had never danced an important solo role at Covent Garden, but these three women were the three ballerinas dancing Aurora in the company’s new production of “The Sleeping Beauty” there. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a4764a77-2123-4042-ab94-d67b8eab1c57/2BF10B17-EBBC-4F65-9747-4C90A36967B9.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 66. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/caa9ea6c-163a-4bdd-90e4-61b737894073/86E6C4F5-8A1A-4C89-BE2C-0B325C44B8CE.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/186659d0-8c84-4d88-ab72-d569f81a9200/926EBBD1-C209-494E-9F43-2D42DD99D298.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 68. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f4df4c63-3937-41fd-9917-f5226756a7da/C59FD6D3-1B14-4E85-B1C0-D3AC2CED3B28.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 69. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/91e55818-4f6e-4b81-82d3-e5d11bfae9d4/7A74CE11-088A-436F-A2D9-544F17AE3522.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 70. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/809b7c4c-d477-469a-bb45-366039eb2897/AF0BB0DF-95B7-4153-A301-5968A710E9E4.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 71. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/51d3b03d-f61e-4d32-bf4b-95e2c336f4a5/4DDFFA2C-2341-4CBA-AA6C-1810D78B34C3.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 72. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ddd4de9d-fb67-4f86-8bd9-1ca522a71ea2/F7A42547-3B4C-44DD-8CE7-97D2FB914147.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 73. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5abfff7d-48d5-4e54-978b-7609e136ba76/478901CB-5B7A-4D5A-8E88-12120942B680.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 74. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ef36ae23-9a54-4c38-801d-b3bf11eb826a/7F072D9A-3E03-419A-AD57-C81D79175A82.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 75. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c0ba3db2-cb95-4c78-8449-f6ff2684e3c3/E5A31358-7A95-4A8E-84D2-5276EAFC061F.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 76. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7d92fd22-2760-454f-9182-7aea9e93bed4/ECB2E642-EF5D-4AC1-A13F-E0C42BD2F05C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 77. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/db1e7460-8e53-4206-8c74-e90010dedd89/69C83F55-87AE-40F4-9027-275847D1EAAA.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 78. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a53f7cf9-63cb-419f-aed0-b8e37f7da645/3705396B-00D1-416F-8948-06F47649634D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 79. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ab27f112-c100-44fe-997a-ce5dfaf8fb7b/ADCDC1E5-2F03-488E-B5C7-DE0540B01FAD.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 80. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/46c05697-a29e-4540-90bf-a33ae087477b/9FDD0513-0279-4C67-ACEC-4A98AE0C1FAF.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 81. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/46af41ee-cae5-413a-b287-65bc7c19be16/23EBFEBE-E1A6-418C-8DA5-E0EE3F7E6674.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 82. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0392e7d4-8d68-43cf-a546-26232c513b72/C9897004-C3E9-4D19-BD5F-B79ADB7FFA8A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 83. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/513ae6ef-9a4c-4139-b07f-e096c4b2131b/4444E5BF-279A-4A32-8DF2-0380CFA4440D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 84. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/816ba39e-61ba-4c8e-bb5c-88c7cc36e8b8/A87CF8F1-190B-4413-9800-EE31AADF2C04.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 85. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b931dd79-658a-4588-ba45-0c98d67ed941/156B49B3-14BE-4071-9B11-FFE67C9953A0.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 86. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/59f14876-5c19-4cb2-9742-9b3d03da5fe2/7B9E74C2-4FB8-4A38-9317-EEB01F9BC9DB.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 87. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a1d02ab3-712d-41af-8341-7744e6a08850/93F61BE4-A302-4077-87D6-9E322948ECDD.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 88. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/75598de8-a958-44fa-88ac-317d375e8ad6/2D267DD9-AFAC-4C1A-9A7E-36CF5FE82023.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 89. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ecaa29f0-4a73-4c77-aaa9-415e01d09b4e/70B81699-13E1-4597-A56A-B5287478969C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 90. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8f0b3001-adba-4cdc-bdb5-7f75018f43e6/53915DD3-6F41-4C08-8F65-0C42BF84C52B.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 91. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ec35c212-4d14-41aa-b0cb-05a27515957e/6D532EE1-98FF-45C6-82F6-A0EA83CA30F0.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 92. I had been friends with Joy Williams Brown since 1999. In 2018, I discovered that Danton had partnered her in the 1949-1950 American season of Roland Petit’s Ballet de Paris. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6cda23b9-4b75-495c-8fdf-164f08233e42/7524DCCD-0875-4891-A016-BD566DBE232C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 93. Danton had expressed admiration for, and fascination with, Alexei Ratmansky for some years. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7d674f6d-9922-470f-b558-6c3d38cb86e3/D152FB9F-018A-46E5-AC27-83959D24854A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 94. Danton had just heard the news that I was stepping down from my post as chief dance critic of the “New York Times” at the end of 2018. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b473f76d-9195-4e5b-b114-8720b88acd24/D9AECD82-FEE0-4910-8060-4C7EBBE7BEF2.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 95. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/74454e51-69c9-4f7c-b635-0ef6fd2fe2a5/29441837-4E96-4092-9AC6-E7499FA4F755.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 96. Joy Williams and Henry Danton in Roland Petit’s “Le Rendezvous”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/110aee7f-6c24-4ce8-8ccf-70c758f0adfd/1B71230A-FC63-418D-93A1-AAC6FB176726.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 97. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/90fc05fe-863c-4cff-8e69-b1404b1288e6/31F10D27-5CBF-452E-A425-A7A8E86678E8.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 98. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/11bddd9a-8a61-4f81-ad4a-1c811be9998d/9992415B-7A4C-49BC-BF50-365256A46522.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 99. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6f7241c8-6acd-4da7-8c40-7b8371376a2d/AD4DEF1E-E8C3-4820-8988-4A1D237D6603.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 100. Another photograph of Henry Danton and Joy Williams in Petit’s “Le Rendezvous”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8d82ca18-e4fa-4468-b18f-5470549f37fb/B791F947-C577-4799-A804-BAA18C06013A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 101. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6f6b47b8-a23d-4b76-924a-0eccae256b6a/0E123488-9743-44EE-9FCF-119F51B04F86.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 102. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0a2397fc-dc9e-445e-a795-bc545e40be0d/46DBF9F7-EBAD-445E-937A-3466C46287D4.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 103. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8700536c-c813-4d76-9eb8-93dafc248a20/FA7AFB5B-BE5D-4A80-A05A-1EC5798CEAC3.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 104. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7d656e77-bafa-4f3d-8f50-ff5cd99fea87/4A519E1E-9D40-4AEC-8BF9-828C89AC132C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 105. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4ee42bcb-045b-4ceb-9be8-467f87f8567f/4D54FBC5-9685-46F6-A53E-16E219792B09.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 106. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b75bd393-ec8e-4906-b1e3-689f37b74f73/C714DED4-DB8D-489E-AB85-0CD703776691.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 107. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d4b5527a-7295-49a2-828c-a46e1da7c9e8/76DB89D8-5BB4-420F-A7B2-DAF6507D592A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 108. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b2c6e397-cd1b-41dd-a602-4e693e4c6003/3690259F-5E4B-4CA4-8628-E019E5C5F846.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 109. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/eff67e0a-9dc7-4e00-a918-97565d7bafab/EE3F225D-2E6C-495B-BB19-1FFD2A6D2B5C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 110. Danton’s use of the word “here” refers to my being in the United States, as I was in January-May and September-December of 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/360147d1-19f6-446a-a89a-32c096738456/53CFF30A-4F68-4024-A3C8-B2642E0E7EC5.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 111. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b97dc612-78d3-4ea8-838b-24aa8dbbf484/C4B9EE04-19AF-4B96-8485-01EEFEA0D820.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 112. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/de0842cc-082a-4ad9-a24d-606d28ddb397/F777F54E-1ED6-4205-8672-2EFA800C08CD.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 113. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9f2fbe2f-5133-4e7d-98dc-dab7b3b8ec8c/22EF3524-E243-4BE7-981F-B4A199057A1E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 114. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d8f4ef16-0dc7-4145-aec1-9cbdcbc4616f/CF457527-28BD-4AC7-B735-366E9C0A7B6C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 115. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d7af009d-8d34-4824-a9d5-6c28215a8658/394C1BE3-280F-4C94-BA58-05F7D3E67E88.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 116. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dd5082d3-3602-4047-954f-7b78e7a9b650/F7061D66-B464-4732-B5B0-B9044D813745.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 117. This was a group email, not sent to me alone. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/be6601c3-e011-4cf8-8d1c-0dbb2c101ec8/E4CDD4B7-46DF-4158-AB58-B4A730D6346D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 118. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9b562ebf-fb10-4a64-918c-5365e1b27249/228E8C8A-EB29-4003-831B-405A83629A0D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 119. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1131aa05-c1c8-4972-8e5a-f4779b8a5d95/4331C3C2-F5F5-4BEE-8261-8ED7CA6ABD7B.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 120. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a7c3d984-c627-48e2-9fb2-d1f34a2ea8f8/AF32E4F9-5EEC-4465-82C8-6F9EC8FFF111.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 121. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8da46362-30e9-46c0-8d04-b9b4863a3dcf/AE3E0BF3-E30B-49E9-B851-052E6C51A999.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 122. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/230a6c77-19b4-43f7-a2b3-c933896d79cd/640F6CE6-1903-4E53-8840-C2C6B0B5397B.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 123. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/edb7d683-7478-48c1-8da5-12c5208cb0cf/3C2B75D9-8D5A-44EE-B6EF-D173F2BECC2F.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 124. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ecd2b3c1-69fe-4011-9e6a-0bf45b03ac8b/B97F3A34-64B7-4751-A25E-E0DAA13AB8DC.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/98d0b680-dd38-4f5c-863c-8666f8ddd9e6/B0D73DA3-6305-4666-9085-8C937EDDA5F1.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 126. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/57e8f914-c478-42b5-85c7-317d7c15053f/35309191-84CF-486E-ABCE-37DF2D8D76F8.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 127. This missive was unsigned. Possibly Danton was sending it to several correspondents. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/eb954a5b-df0d-49f1-95ac-19a69f8bab6f/0937E390-1584-47F8-81DC-FDF4CF657E0D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 128. In my missive to Danton, I had mentioned the two world wars and the world economy, but I believe he misunderstood the point I was making. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/135c40da-92e9-4549-8223-f2c2d4b7db04/F5CE4FD2-0E5C-4782-B369-8EDF074A5B13.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 129. Nos 130-139 are the piece about him, by Anne Marie Wrange, that he attached in English translation. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/26103553-cf41-4a3c-ac03-6f046da3aaaa/F6D219D8-D03F-48C6-944D-0A1F96DF120C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 130. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7b9bb14d-abb8-4ddb-b1e1-65d4817050a2/4CD87AB8-90FD-40E3-A0C0-CF2E7DF5A73C.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 131. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2e9fce67-a34c-4b0b-a5ec-6b6aa6bd02a1/1682C4DA-2460-4DA1-B04D-BA4C13306909.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 132. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/30d76318-1f73-48ac-96a6-6ff2408a00bc/0ACE5FD2-8C18-4664-B7DD-B82B672A699E.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 133. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4a698406-efb4-49f6-830e-2ab9e733bfdb/1D2EDF66-3E92-4249-B1C1-86081A11ADA2.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 134. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aff7d352-5329-4539-bb7c-325aabee7e57/CA8D692B-D58F-47EF-8E71-E7D7CE464D6A.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 135. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/40ee5963-9f2b-40f7-ba61-1b8ebee50e6f/999A72ED-05A3-4009-9657-C3779EFE4488.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 136. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8299a384-e718-471b-9256-4b08d0d7c4e3/2948FB33-9E2B-41CD-AC5A-03CC0B7545DC.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 137. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/be9b3af8-5537-4193-bf52-3d4415f6a0b2/EE08B218-3F07-4DC9-A1E8-94EDF022DA66.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 138. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/248599ac-48e4-4dee-ba2c-c8cf5147751a/C170AE88-F34D-4511-ADF5-DBEADAEA0EA2.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 139. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b7b7a3e4-5fc1-428f-b333-41f11de7aba3/0866C8C7-A4C2-4330-B91F-3FDE5FFC41A6.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 140. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a617b9be-4483-4129-8895-6cbb38ad0749/284FA6EB-FC3C-439C-A2DB-E9BD9804AFE2.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 141. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e5528b03-5704-410a-b239-38e225eda615/28BF8DA8-70CA-4C11-A39D-E396C4A63B52.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 142. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c867d7fb-be63-4424-b5d3-0a1487265735/72615194-C2F2-4987-A451-61C875C8C90F.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 143. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a31a5c0b-839a-4dc7-8c8c-9d3662e46a62/814865EE-C8EA-4A3E-9D6E-DF132727137B.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 144. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/79fce6c8-b303-4594-b75f-76ed4f5e0e47/710A5ECF-DD52-4459-BEF3-180ED984B685.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 145. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6b897309-6a1c-4e03-9f77-e5cf70bb7efa/EF86B591-950A-4EA8-AC98-8F365CE8A84D.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 146. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2e75c07d-b78a-41ac-af2d-a721d5417c9d/C59F7668-6D5B-4763-BEB4-178A0AE30F67.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 147. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b5135c31-8ed7-4508-8f48-861df6d4d159/251C3B3D-05E7-4C76-8721-C06B7EC5AA36.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 148. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/540598d6-1711-41bc-b600-442f18ccbb91/3AEC0D62-BF88-4E11-8AC8-7828BBDDEB97.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 149. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3f08b172-2207-47c3-bb7f-a89c5fa73fbc/B87750EE-AFD9-46CF-8908-AF44B0D00C69.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 150. This photograph by Henry Danton, taken from the wings at Covent Garden, shows Margot Fonteyn as the Vision of Aurora in Act Two of The Sleeping Beauty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/09ec1402-ac1b-48c4-b8f1-0685e2aa9d0c/B29FE696-4807-418B-883C-5CDBC362B3C9.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 151. This Danton photograph shows Beryl Grey as the Lilac Fairy in her variation in the Prologue of The Sleeping Beauty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0fa36e7e-6c16-4f53-9a6b-d688d1471c7d/2166BEA9-1055-48AF-892C-5D12BCEBA583.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 152. This photograph from the wings shows Margot Fonteyn as Aurora in the Wedding pas de deux of Act Three of The Sleeping Beauty with David Paltenghi as the Prince. This is the only photograph of the Fonteyn-Paltenghi partnership I know: he was more usually partner to Beryl Grey or other Auroras. A tall man, he had limited dance technique, but looked striking in the Prince’s Act Two pink/red hunting coat. Fans in the Covent Garden amphitheatre gave a sofa there his name because it was that colour: “Meet you on David Paltenghi in the interval”. He later became a choreographer for Ballet Rambert. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ef5f9fd0-7fd8-4a87-b390-b7b650445d8f/A279E2A9-8ACD-45E0-9394-181D39A40723.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 153. I sent Danton this photograph by Roger Wood of the very final moment of Ashton’s Symphonic Variations. Michael Somes (right) has his arm raised. I assumed that the man in the centre of this photograph was Danton. His replies come in 154. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/97efdd01-3f79-4536-8504-eb1c2041e542/4C69B11E-A5E8-4F2F-B129-D1CC1824DFBB.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 154. Danton here refers to Brian Shaw. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/05a1cf81-7611-4df8-8582-fa9b95cc3922/C1E10E2A-3E7D-41E5-8A97-96CEA0995CCD.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 155. According to Danton, this super-radiant photograph by him from the wings of Margot Fonteyn shows her as the Vision of Aurora in Act Two of The Sleeping Beauty. It should be remembered that in 1946, the year of this photograph, Aurora’s Vision Scene variation was the one choreographed by Marius Petipa (to the Gold Fairy music) rather than the variation choreographed in 1952 by Frederick Ashton (to Tchaikovsky’s own music for the Vision variation). I responded that this glorious photograph showed Aurora surely in the Act Three variation, but Danton replied in three emails: 156-158. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2ea98805-015f-4e5a-be3f-c020f2a62f65/45927492-C847-4294-BBC0-5320D445EFD8.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 156. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/53d260d3-98d8-4cf5-9796-899ea199fd5b/A01F1A19-862E-4AA2-AEC0-00871F8A1B26.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 157. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a978d0a7-1ddc-4b51-88c1-7acb774cffc5/B1034F7D-1A6F-43AB-9CB9-17C3EBEDCB51.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 158. An excellent point. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/81f27ae7-f144-4e7a-8b4f-5e0ca77a89b8/F2505382-6510-4754-9307-55AE23922BE0.jpeg Essays - Love Letters (love emails) from Henry Danton (1919-2022) - 159. Danton sent this unsigned Christmas greeting to a number of his friends. For me and several others, it was the last missive we received from him. https://www.alastairmacaulay.com/all-essays/m0bwim1xm9twf76mr1yxij7rjxbvny monthly 0.5 2022-06-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3c97819e-b5c1-400d-bc06-fba90c7835a5/974F69A5-94B2-4D3D-B593-CA44EB8A3DF0.jpeg Essays - David Gordon (1936-2022) speaks of Merce Cunningham, James Waring, Valda Setterfield, Paul Taylor, Yvonne Rainer, Steve Paxton, and more - 1.David Gordon. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/de8f55f7-3a5e-4886-98de-eb942e12e8f6/F0170524-BD7C-448F-9D30-4C6054E616DE.jpeg Essays - David Gordon (1936-2022) speaks of Merce Cunningham, James Waring, Valda Setterfield, Paul Taylor, Yvonne Rainer, Steve Paxton, and more - 2. Wendy Perron, “The Grand Union: Accidental Anarchists of Downtown Dance, 1970-1976”, Wesleyan University Press, 2020. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1f71335d-4cd8-460b-9554-2a7f97f5a391/7D68C958-367F-4A7E-8F6E-9F20429CFEE9.jpeg Essays - David Gordon (1936-2022) speaks of Merce Cunningham, James Waring, Valda Setterfield, Paul Taylor, Yvonne Rainer, Steve Paxton, and more - 3. Marianne Preger Simon, “Dancing with Merce Cunningham”, University Florida Press, 2019. (This has a long afterword essay by Alastair Macaulay.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c31ed5a9-95b4-45e6-b326-b9dcd030aea8/7954351F-BE2D-41CA-8DD4-170B6E134892.jpeg Essays - David Gordon (1936-2022) speaks of Merce Cunningham, James Waring, Valda Setterfield, Paul Taylor, Yvonne Rainer, Steve Paxton, and more - 4: Valda Setterfield and David Gordon at their wedding in January 1961. https://www.alastairmacaulay.com/all-essays/0944lf7dt20bqrajfcox04vfdj67kl monthly 0.5 2022-02-18 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f3a704f5-a664-469b-9411-a0c367e0ad40/B168D89E-3AA2-426E-A1A2-9F617A442A8C.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 1: Flames of the Forest, Nrityagram https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7f5df143-0772-4fa0-829c-39f9dc264e2e/D98B7832-CB16-4A17-82D9-9BF0C34E662B.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 2: Pandit Birju Maharaj (1937-2022), the great Kathak dancer. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/044832c1-9941-410d-ac04-12c5938863ff/299A791F-0AD6-43D4-93A6-289F80F57F19.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 3: Sunil Kothari (1933-2020), for decades India’s foremost dance critic, and the world’s foremost expert on Indian dance forms. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/26b052d5-ce1b-47b6-97f7-00139f8d16a7/17CF8D94-95F2-43B4-BF38-AB85A5D2177E.png Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 4: Madhavi Mudgal, the great Odissi dancer. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b9b39917-cb57-4cb1-844d-e25137405fb3/A918D99F-6BAC-4AC0-99C0-C8CDFC99282E.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 5: Surupa Sen and Bijayini Satpathy, leading lights of Odissi dance at Nrityagram for many years. Sen remains central there; Satpathy is now an independent dancer-choreographer, and has been a Fellow of the Baryshnikov Arts Center, New York. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7a7ebf7c-3cff-4795-b1dd-861da4233803/956BE09E-9072-4F0A-8A43-F094385FDC1B.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 6: Bijayini Satpathy (centre) and others dancing in the open air at Nrityagram, being photographed by Briana Blasko (right) for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/999eec61-8f51-4836-bee7-344c8d2f066c/47DA816D-EF0B-4B95-9358-314440D70B5B.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 7: Dancers of the Nrityagram and Chitrasena companies dancing in the open air at Nrityagram, being photographed by Briana Blasko (left) for the “New York Times”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b7d3df2b-5741-44d4-a2f6-fcf95e0c9ecd/BB40FA7C-F8FE-4BD9-834A-2EB12233D8D6.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 8: Dancers of the Chitresena and Nrityagram companies dancing in the open air at Nrityagram, Sunday, 12 February, 2012 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/248b938d-bc2b-43dd-883a-68fc686785b1/F400F29E-FEE8-42D3-B998-9ED85D7D9E06.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fd86897a-8173-44d4-84b2-6261ee9b81b7/4DC95BC0-2A56-4761-9720-CDB5EF6C3E8F.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 10: Bijayini Satpathy (left) and Pavithra Reddy (right) of the Nrityagram company. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/518d9b3b-2fb0-4abe-aecb-0563824e4d0a/6DDE2196-D781-417F-A040-53AF5EC61F92.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 11: Sixteen women take class at Nrityagram, showing the “tribhanga” pose. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4cd2a0e6-3817-40f8-b8b4-aae10dce475f/C8AE4132-A233-438A-9698-0D2DDEC42650.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 12: Odissi class at Nrityagram, women demonstrating the “abhanga” pose, Sunday 12 February https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/42a8cca4-66d5-4c54-a753-ba0ba5a0c9d3/E478B55A-DDB2-452C-973A-29AAE0485EBC.jpeg Essays - In India I, often on Indian dance and temples, 1-19 (February 5-13, 2012) - 13: Nrityagram- the musicians. The man seated nearest the camera, wearing beige tones, is Shiv Shankar Satpathy, brother of Bijayini Satpathy. https://www.alastairmacaulay.com/all-essays/cf4cdkmxd07z2s528orbua2kq4ytuh monthly 0.5 2025-05-15 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ec346ef4-88d3-46ba-a716-8d1bbd49d1b8/D65551BA-3084-479B-A55A-9A1CD3A9E01A.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 1: Leanne Benjamin https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/585e0e77-2216-43f1-b0ea-627aaa1f51a5/FF79ECF4-E9B6-4125-9483-E7ADAC527B11.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 2: The cover of Leanne Benjamin’s “Built for Ballet” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a9114615-2e53-4b78-9856-27b0d0f2cc33/38C22B1C-4EA9-49AD-A98A-391137355B5E.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 3: Leanne Benjamin in the title role of Mikhail Fokine’s “The Firebird”. Photo: Bill Cooper, 1999 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/52de0bcb-7572-4e29-8484-9c5b7fdfdaac/4A49E98A-1A80-4650-B0CA-A4AF2A0D56F6.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 4: Leanne Benjamin as the Firebird in a crucial moment of decision https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/92c218d0-2c2b-4222-a7ae-28fff24f54dc/5F0DC33C-350B-4E36-9D15-37D0F401407E.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 5: Leanne Benjamin in the title role of Frederick Ashton’s “Cinderella”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aef0f028-2dc8-4659-9c05-2fef225d428c/84500C8F-6269-49FD-84FB-ECBC053B1751.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 6: Leanne Benjamin in the Royal Ballet’s 2007 production of George Balanchine’s “Emeralds”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ce0da83b-457f-41b1-ade3-11e84b43bbae/64927871-1841-4D92-B7A1-8D20BDF18503.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 7: Leanne Benjamin as Mary Vetsera in Act Two of Kenneth MacMillan’s “Mayerling”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c15cfb2-5a6c-454e-a521-e854527bbe3e/EB03E28F-1C4B-42A7-98F9-B81085C94267.jpeg Essays - The Difficult Ballerina: Leanne Benjamin’s Autobiography - 8: Leanne Benjamin and Kenneth MacMillan rehearsing his “Different Drummer” (1984) in 1991 for the Deutsche Oper Ballett, Berlin https://www.alastairmacaulay.com/all-essays/pole-dancers-dissidents-and-joyce-didonato-in-a-triumphant-theodora monthly 0.5 2025-05-09 https://www.alastairmacaulay.com/all-essays/n3uwbw8anivenjkgpye2z0ku6ulhoa monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/801fdc59-631e-466e-8b0c-d45cc60255fb/IMG_3287.jpeg Essays - Raymonda and the Crimean War - 1: Act One of Tamara Rojo’s “Raymonda”, which relocates the action to Victorian England and to the Crimean War. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/65417501-d885-4d9c-abf7-b9926d60c261/IMG_3295.jpeg Essays - Raymonda and the Crimean War - 2: Raymonda in an Act One dream sequence leading an ensemble of Ladies of the Lamp https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/45d1905f-3b4a-4241-90d5-2bd6188a5cb4/IMG_3289.jpeg Essays - Raymonda and the Crimean War - 3: Jeffrey Cirio as Abdur Rahman in the Rojo “Raymonda”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2493ba6c-5de8-4e9f-ba01-d684b1b50c27/IMG_3291.jpeg Essays - Raymonda and the Crimean War - 4: Raymonda at the centre of an ensemble of Crimean War nurses. Shiore Kase as Raymonda. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/57349a53-4c7a-40c1-b601-d925be4c1abd/IMG_3293.jpeg Essays - Raymonda and the Crimean War - Make it stand out 5: Isaac Hernández (John de Bryan) and Shiore Kase (Raymonda) in the wedding adagio of Act Three of Tamara Rojo’s “Raymonda”. Photograph: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e1f58240-a7d2-4c51-bed1-6da74a158cb8/IMG_3297.jpeg Essays - Raymonda and the Crimean War - Make it stand out 6: Isaac Hernández (John de Bryan) and Shiore Kase (Raymonda) in the Act Three wedding ensemble adagio of Tamara Rojo’s and Marius Petipa’s “Raymonda”. Photo: Johan Persson. https://www.alastairmacaulay.com/all-essays/byq3y6560y798jcrlmiwp4s4su9ii6 monthly 0.5 2022-02-14 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c4c0ca51-47d5-400c-add7-b831624a1a3a/52291BAC-4A02-47F9-AD30-128A7036163C.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 1: Countess Lydia Pashkova, the librettist for “Raymonda” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c66417b9-276f-4b60-ba72-c5d2d8d3b3d4/B74A1C1A-10FB-49AE-B8D5-3369E17699F2.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 2: The Naxos recording of Alexander Glazunov‘a score for “Raymonda”, preferred by Doug Fullington. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bf2e91b8-5a86-4bb9-ab28-94f632357cc6/EFA4DB92-9429-4683-8F78-DD1DEB1B6BF6.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 3: An 1898 photograph of “Raymonda” onstage at the Maryinsky Theatre, with Pierina Legnani in the title role. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9407fdbc-bef4-41ab-9313-45d44cbb1909/008D7B39-AE17-4CAB-8F03-025B9098FC85.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 4: Pierina Legnani (1863-1930), the original Raymonda, in a studio image showing the character in her entry dance picking up roses. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4f64e14d-b414-4cee-9254-c187589a8697/B0B98FE5-37F8-4380-A7E4-9021C81198B9.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 5: Sergei Legat (1875-1905), the original Jean de Brienne, in an 1898 photograph in costume. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a5d4edbe-47c9-4829-ad99-5cc0d0cb965d/CD14C196-AD9A-438A-97D1-17751D58FD04.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 6: Pavel Gerdt (or Guerdt) (1844-1917) as Abderrakhman or Abdérame, the Saracen anti-hero of “Raymonda” (1898). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f1d56e5a-1c32-4882-a7da-ac5c30ca340d/B8F71D54-25EA-4CC3-8F44-CB4F9928A127.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 7: Sergei Legat as the original Jean de Brienne of the 1898 Raymonda. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3372d12f-0b7a-406d-a926-42821c610e28/43FAA08D-745C-4306-85DA-705577D612F1.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 8: Pavel Gerdt as Abdérame or Abderrakhman in the 1898 “Raymonda”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6b48057f-025f-4bb7-9e0e-6faba8350ab6/3162DF29-7810-4D91-81FE-BB4C0FDAE90F.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 9: Pierina Legnani, the original Raymonda, in Act Three with Sergei Legat, the original Jean de Brienne. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4d2454d8-3fa6-4a1a-98e1-cedddcb35f79/129AF6BE-E404-4D28-9760-D48BDB6C7147.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 10: Nikolai/Nicholas Legat (1869-1937) as Béranger in Act Three of “Raymonda”, 1898. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2b0d8405-7968-482f-a808-dd21d375f8b1/39EBD8D7-4D12-4855-A2D4-82DE5451F346.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 11: Maya Plisetskaya (1925-2015) as Raymonda with the Bolshoi Ballet. She is seen in the pas de châle of Act One. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/82c49eae-dd65-4ce0-8c80-97d9bf730fb7/64EC04F4-E957-4979-8B9C-64B97FD9988C.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 12 Margot Fonteyn (1919-1991) as Raymonda at the twilight conclusion of Act One Scene One in Rudolf Nureyev’s production for the Australian Ballet, mid-1960s. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0b0c2c6d-56d0-4972-997d-d97852d0e918/E02753F4-4EA4-45C7-9899-B630DCCA5034.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 13: Fonteyn in Raymonda’s entrance dance in Act One with the Australian Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2695975a-e573-47ff-82bf-b1237869271e/5F6965B4-FC14-4E00-8718-E1ACE84B8AC6.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 14: Natalia Bessmertnova (1941-2008), as Raymonda in the Act Two pas de six with Gedaminas Taranda as Abderrakhman/Abdérame in the 1984 premiere of Yuri Grigorovich’s Bolshoi Ballet production. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/413c2f45-a51d-4d29-8265-516768d4d38f/0BC24343-08AA-4DFD-8E28-5D4631F21B3C.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 15: Irina Kolpakova (b.1933) as Raymonda in Act Three with the Kirov Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/839439b1-d378-4270-bc84-4c03db638d9f/CAB6AB5E-FDB1-4319-92F4-ED4ABB1E86EC.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 16: Irina Kolpakova as Raymonda, again in Act Three. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6d560ce7-bae1-4221-a756-29778420e5a3/4A5D3B50-28DF-4940-A57D-E134165C3BED.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 17: Nina Timofeyeva (1935-2014) as Raymonda (Act One) with the Bolshoi Ballet in 1963. Photograph: L.Zhdanov. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b7c0e6c7-9717-403a-8453-503c2a5aea31/9F8B6A57-4427-4ECF-A968-91B3002DF9DD.jpeg Essays - “Raymonda” and Ballet Herstory: historians Doug Fullington and Sergey Konaev on Lydia Pashkova, Ivan Vzevolozhsky, Marius Petipa, and the Russian Imperial Theatres. A “Raymonda” questionnaire. - 18: Lydia Pashkova, holding a sword as described by Sergey Konaev. https://www.alastairmacaulay.com/all-essays/10wwf5fozmmdnfpjyy1nwpt3634la5 monthly 0.5 2022-01-02 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6aadb455-9f73-4c4e-a1f4-0827ea0e6cc0/C9C0FA7F-8C62-447A-8A5A-B148B520ADA1.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 1.This painting depicts an actual ballet de cour at Schönbrunn Palace, Vienna, on January 24, 1765, with the juvenile archdukes Ferdinand and Maximilian and archduchess Marie-Antoinette (María Antonia), to music by Gluck, for their mother the empress Maria Theresa. It was commissioned in 1778 by Marie Antoinette, when she was queen of France, to hang in the lambris of the Petit Trianon dining room. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b0391309-e3bd-4a0f-9bd9-3e848822e7d8/30DE7E10-6DA1-44A0-ADC4-FC1BA2A3DBF0.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 2: Pierre Rameau, Le Maître à danser, 1725. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/18fabb8e-279c-4246-a883-fdbe487db1a8/0E4608AA-D8AF-4B3F-956F-66A36896F2A0.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 3: First position of the feet: Pierre Rameau, Le Maître à danser, 1725 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/348feb1e-8c56-4398-854f-ba85e95418a7/FE41EF92-2D32-4C94-B7D9-42A18680EE5F.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 4: Second position: Pierre Rameau, Le Maître à Danser, 1725. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/eea1e2ac-aede-4970-b345-93854978965a/CE28BE05-23D0-4804-AAC3-E690B2900E26.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 5: Third position: Pierre Rameau, Le Maître à danser, 1725 . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ef2f0d70-2b83-43ff-b8ff-65f12d430fff/9AB3FF1A-573E-412C-B315-89E4EE55E0D0.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 6: Fourth position: Pierre Rameau, Le Maître à danser, 1725 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b660bfb7-d73a-4d56-817d-fc912092696e/1A459322-9F48-4F3D-B7B2-EE23B2024279.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 7: Fourth position: Pierre Rameau, Le Maître à danser, 1725. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3465ec47-d642-4e3b-929f-d948363136b8/DF272D75-CF1D-4EC6-A51F-DBECAECDE108.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 8: Fourth position: John Essex, The Dancing Master (a translation of Rameau), 1731. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6b8f8b98-8089-4927-916f-2abae84c9396/798CDC9E-0677-447F-8B52-AD012D98D02F.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 9: Fourth position: John Essex, The Dancing Master, 1731. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cbd5be1e-e407-4ac6-a8e1-f339c158de55/D8C716A2-1686-4AC0-843B-8E5DCDA86C8D.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 10: Fifth position: Pierre Rameau, Le Maître à danser, 1725. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/88327290-0cb8-43d5-88c1-b1a0dd04f7a5/2B4F3957-D26E-4BB1-A26B-13F9D206AC07.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 11: The opening image of George Balanchine‘s Concerto Barocco (1942): eight women in modern fifth position. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1f3dc7fe-ec31-45ba-81b7-313516a9c49c/F4BE2272-5275-490F-8BF2-1F5B13D6AA41.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 12: Barbara Campanini (1721-1799), the Italian ballerina often known as “La Barbarina”. Her career took her to London, Paris, and Berlin. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/93f5177e-b197-4b0b-8534-6fcf7408cae2/CDD9A6C3-5FED-4FD2-8988-9B162F03B526.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 13: The dancer and dancing master Claude Ballon (1671-1744) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5423c46e-d5c2-41a8-a2c0-5e4ec11134ee/77E5E428-E519-473C-BC33-A5A8F085FAFB.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 14: The dancer and dancing master Claude Ballon (1671-1744) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3c482f72-499a-4ad2-a159-4ce24cad8024/3BB79969-2614-4BD6-8697-EE9C24F141DA.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 15: The ballerina Marie-Thérèse Perdou de Subligny (1666-1735). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b816508c-8d9f-4395-a790-3846f95112ba/6DEF2522-CC05-4EC3-A957-DCDD38FAF166.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 16: Marie-Anne Cupis de Camargo (1710-1770), by Nicolas Lancret (1690-1743). Wallace Collection, London. Lancret seems to have painted Camargo at least three times; there are other similar paintings that may have been copies “after Lancret”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a4e1c9a9-5eb1-4a30-b084-6edb880d4bd2/10FAA96F-DA4F-4B7E-9EDA-6EFE8DA15045.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 17: Marie-Anne Cupis de Camargo (1710-1770) and partner, c.1730, by Nicolas Lancret (1690-1743). National Gallery of Art, Washington D.C.. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7fa61623-b38d-42aa-b0d4-0fb2bd866636/7C77D9FF-CDFD-4B54-80AC-48987FF177B2.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 18: Marie-Anne Cupis de Camargo (1710-1770), c.1730, by Nicolas Lancret (1690-1743). Hermitage Museum, St Petersburg. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4a11fa01-6c1f-4835-b9a2-9d9f869205ab/3F213E12-88E2-4496-A055-200EF449D9D3.jpeg Essays - Third position! Fifth position! Turnout of upper and lower body! and much more. Historian Moira Goff answers questions 40-58 about baroque dance and ballet. - 19: L’Embarquement pour Cythère (1717), by Jean-Antoine Watteau (1684-1721). Louvre Museum, Paris. https://www.alastairmacaulay.com/all-essays/zgr9wcw7tgwfy8poixavjhuibn9htv monthly 0.5 2024-07-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5d32518d-d6ea-4e41-b610-cf1137cd7907/BCE61AA1-2703-43B5-9C92-5C3527FBBE14.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0dedcbc4-90af-4075-b978-d7176ba8f549/955510CF-9FC5-477B-A87A-0445D8DFAB2B.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3746bd27-b80a-4aec-b206-6e0be5e47fca/716F7A01-B628-4244-A565-739E5DECCA31.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/59f13d3d-7c02-44cc-8b91-fb6456469bf2/584754BC-63D8-4AA2-A75A-33BE82226CF7.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ded95f79-62a6-410d-b25b-673bd422aae2/1C03E2CC-34DD-4D54-A057-678F73B3F4E6.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5e9493ef-9b9e-44c3-9489-898ad7aafe2d/6A51F3A2-718F-49F5-9EFE-B97088466851.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/20aed2f7-0ee8-4c05-906f-ec5931efbc31/120E599F-A892-45BC-8B3D-810D05FBFD55.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/61189b37-be78-4c3f-997e-5c951e21907c/B3543C59-F8E1-4DDE-B41A-E30E40BA4F50.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7ca3e00f-5742-4e8e-9741-2dd106205011/A002452F-1450-4869-9AB7-582B43AA2EC9.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/93e4a37a-4f41-448a-9bbe-cec8547ed3db/885B57C7-BAAE-4DF3-9C4E-575895799EC0.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/898ff6ad-2381-4cec-812a-3009157cef50/C2C0078C-F2AC-4865-B215-27D87058ABAC.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/794cef2b-679b-47a3-a2c7-b70c0684f04d/C0D7D70B-ECC1-4184-B96B-501BC76A7B0C.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3724ad2d-f43e-4a27-b629-62b7d27b9a5a/BB0DC216-4D9D-43AA-A53A-E5F704549EA2.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0a6353a2-968b-4788-b400-7dd9b6f75a49/64FD2703-56BF-4B9E-BA57-A877DBDF203F.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ae4ac18d-199e-4d06-a66b-2484224b332e/B43C5D0C-C7F0-4D38-B2B9-39A3BFC76EAC.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - 15. “Asphodel Meadows” (Royal Ballet, 2012), the breakthrough ballet that put Liam Scarlett on the international map. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2e6bea68-f1b8-497c-b6e1-bf7c65b5d93e/4A8D502D-19C9-48BB-8BBA-BD50CD53814B.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - 16. Sara Mearns and Adrian Danchig-Waring in “Acheron” (Royal Ballet, 2014), the second of Liam Scarlett’s three ballets about the world of the dead. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/158aa929-5075-4952-8053-81495161aca5/ECF8B201-04E6-42DC-8768-95BEEE65B0E3.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - 17: “Die Toteninsel” (“The Isle of the Dead”), by Arnold Böcklin, the 1883 third of his five versions of this subject. An immensely and internationally influential painting, it was the inspiration for Rachmaninov’s symphonic poem “From the Isle of the Dead” (1909). Both the painting and the music in turn inspired choreographer Liam Scarlett to make the final work in his international trilogy of ballets about the worlds of the dead, “Die Toteninsel” (San Francisco Ballet, 2019). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4cb817c2-7886-4778-9eda-b77f9dc2c4f4/DF877779-7E4D-4041-941E-7F4A34589EC8.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - 18: “Die Toteninsel” (San Francisco Ballet, 2019), Liam Scarlett’s final work about the realms of the dead, made shortly before international disgrace terminated most of his career. He died two years later, aged thirty-five. Photo: Erik Tomasson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/520f32cb-7d5b-4e36-959b-fdbc4c86dbb9/F14FF9F1-FD00-4B37-AEC0-11B353C3E9D6.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - 19: Lauren Strongin and Joseph Walsh in “Die Toteninsel” (Liam Scarlett, San Francisco Ballet. 2019). Photo: Erik Tomasson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/90ee05a7-36d2-4960-84dd-675f99a5105d/7D9AA283-22BC-4197-B977-5BF687B6D3B5.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - 20: Lauren Strongin and Joseph Walsh in “Die Toteninsel “ (Liam Scarlett, San Francisco Ballet, 2019). Photo: Erik Tomasson https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/df5c27da-053d-4c69-a646-33cb2328214f/A81CCA0D-35CE-48AF-B923-812CF92B546D.jpeg Essays - Notes on the death, inquest, tragedy, and art of choreographer Liam Scarlett - 21: Lauren Strongin and Esteban Hernandez in “Die Toteninsel” (Liam Scarlett, San Francisco Ballet, 2019). https://www.alastairmacaulay.com/all-essays/j73p9hv05b2eduep6nyry411ry4nlc monthly 0.5 2021-12-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/48b537d0-4502-48aa-9761-6d6dce6e27ad/DABE4755-1C6D-46EE-A78C-0C171A8DCF6D.jpeg Essays - William Gaskill on Edith Evans - 1: William Gaskill in 1966, directing Macbeth at the Royal Court Theatre https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/901aa391-b0f6-41fb-a5f3-d3a477e4c04c/D5308174-55A4-4E8A-BFF7-7CB3189F15E2.jpeg Essays - William Gaskill on Edith Evans - 2: Edith Evans (1888-1976) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8cc7ac07-2058-49b1-9436-f547f2f3dbd8/91A5D624-D784-4F9F-9CAE-D8D759DA7EF3.jpeg Essays - William Gaskill on Edith Evans - 3: Edith Evans as Volumnia in William Shakespeare’s Coriolanus: painting by Robert A. Buhler. Evans played Volumnia twice, once at the Old Vic in the 1920s, the second time at Stratford-upon-Avon in the great 1958-1959 season (her Coriolanus was Laurence Olivier, who had directed her in Daphne Laureola a few years before), while the season’s other Shakespeare actors included John Gielgud, Charles Laughton, Michael Redgrave, and Vanessa Redgrave. We may guess, since the painting hangs in the Royal Shakespeare Collection at Stratford-upon-Avon, that this depicts her in this latter production, although the title leaves it uncertain. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/131d45f1-7c97-461c-a0b0-ccca4412dccc/CBF3757F-A329-4FF0-B4E1-7D949307C9ED.jpeg Essays - William Gaskill on Edith Evans - 4: William Gaskill in the twenty-first century. https://www.alastairmacaulay.com/all-essays/uuag1e3n3ppfq7ypiknw2cncqw0obk monthly 0.5 2022-01-14 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2169da88-5ae4-4faf-9a7e-891e0be9f1d3/508D0DEF-5ED6-413D-964E-206D4717E980.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 1: Company bows in Julia Trevelyan Oman’s 1984 décor for the Realm of Crème Brûlée: Royal Ballet at Covent Garden, December 4, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3793e1b1-23e9-4235-a4f3-edbcd6015cbe/9CD7F672-B994-4A58-A33F-C2B2D33181B0.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 2: Conductor Koen Kessels joins the Royal Ballet cast, led by Lauren Cuthbertson and William Bracewell, December 4. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1a8c4678-a8e5-41c6-8c84-db594c80b486/BD812200-5BAA-4855-BCD4-DCF5C6303466.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 3: Royal Ballet company bow after “The Nutcracker”, December 4, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e7526e30-c80a-4e9a-840b-6676f5a9991e/83B56965-5352-42B1-A4B3-5352ED0DC5C5.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 4: The corps de ballet of female and male Flowers taking applause, English National Ballet, London Coliseum, December 2021 . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/58b52dff-99b3-4fb2-83a8-a23ecacf662c/A8BFE193-7046-439C-B86C-9B4CED95DFE3.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 5: The Mouse King joins the English National Ballet “Nutcracker” cast for onstage applause. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/59c88130-2f97-4836-bb18-5d761a61062e/60F99EFE-CE55-4BC8-B2FE-3B62C98ABC86.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 6: William Yamada after removing his Mouse King head. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7b6554eb-85ca-43cb-9b87-cfce26b1030c/DBACB526-6DBC-46DF-8220-A32A2B37E6F0.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 7: The Nutcracker joins the “Nutcracker” cast for applause, English National Ballet . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e554f035-6b24-45a9-a99c-e82b82de47b7/EAEAD4C2-4482-42F6-AD13-C7285BC65A1B.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 8: Erik Woolhouse after removing the Nutcracker‘s head from his costume. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a9200f19-a6e1-475f-aac8-7fe8e251efab/52725693-A964-469C-B20B-A7AB3599AB56.jpeg Essays - London’s two big ballet companies molest “The Nutcracker” - 10. Katja Khaniukova (Clara) and Altor Arrieta (Nephew). https://www.alastairmacaulay.com/all-essays/khc9b19dz05a5zpiec7h7mw7yznn83 monthly 0.5 2021-12-28 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/af1f1dbb-c7ae-49e1-bcc7-1faf5da861d6/C154F753-9933-4224-A9E8-FE187D001DF8.jpeg Essays - Galina Samsova (1937-2021) R.I.P. - 1. Galina Samsova with Desmond Kelly in the Soviet number “Spring Waters”. Photographs show Samsova’s impressive blend of Russian physical grandeur with unmannered and unobtrusive wrists, fingers, and arms; but I know no photographs that show how singularly touching she could be. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5f25697e-02f4-4a6c-83a4-6248c2f042f3/E834283A-3459-4F52-904F-028573731833.jpeg Essays - Galina Samsova (1937-2021) R.I.P. - 2. Galina Samsova as Juliet with the National Ballet of Canada, presumably in John Cranko’s production of “Romeo and Juliet”. This photograph shows the ardour and spaciousness that were constants of her style. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/90e42334-e67c-4a82-95b9-c9cbcd6f0fdd/EEFFE2FD-725C-41B2-837D-B07C806682C7.jpeg Essays - Galina Samsova (1937-2021) R.I.P. - 3. This signed photograph shows the plasticity of her back. But to see how she could achieve the same arching line meltingly, without bravura emphasis, in either supported arabesque or over the arm of her partner - this was breathtaking. My thanks to Janice Adelson for finding this photograph. https://www.alastairmacaulay.com/all-essays/dq2j2ruf5xfuval1ph1opwoqf0yj85 monthly 0.5 2022-01-02 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ec740930-e042-4afa-9378-d24ae6f51b51/CBCBBABD-4CFE-4702-8EBA-62219FF77C91.jpeg Essays - Is Queen Anne the only royal personage for whom a choreographed dance exists in notation? Historian Moira Goff addressed more matters on baroque dance, “The Favorite”, and dancing royalty - 27: Queen Anne https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/931ec116-7747-400f-8710-de5e25f7478d/CFEAFDF3-EDB4-4E1B-8469-E645E3E9DD7B.jpeg Essays - Is Queen Anne the only royal personage for whom a choreographed dance exists in notation? Historian Moira Goff addressed more matters on baroque dance, “The Favorite”, and dancing royalty - 28: The Feuillet notation for “The Favorite”, a 1690 dance performed by Anne before she became queen of Great Britain. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/12ba4226-6f1b-42f1-ba13-586cfd69a96b/471BC631-71CB-438A-9452-F6D7E1A4E26C.jpeg Essays - Is Queen Anne the only royal personage for whom a choreographed dance exists in notation? Historian Moira Goff addressed more matters on baroque dance, “The Favorite”, and dancing royalty - 29. More of the “Favorite” Feuillet notation. https://www.alastairmacaulay.com/all-essays/wyvfiz6ze8ftwqfe46795mytg0gs2i monthly 0.5 2021-12-12 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/66cea525-71f3-4314-9133-bbef05cf7d69/361E0896-66C3-4558-8890-DFA56F8F712F.jpeg Essays - Studying the male role in Jerome Robbins’s “Afternoon of a Faun” with Robbins: Afshin Mofid remembers - 1: Afshin Mofid in the Jerome Robbins “Afternoon of a Faun” . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/68e237c4-2446-4f62-9af9-38015cb0e803/677F9C43-0A60-4401-8DD3-EDE98229A2F5.jpeg Essays - Studying the male role in Jerome Robbins’s “Afternoon of a Faun” with Robbins: Afshin Mofid remembers https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/24a68d85-38af-4437-a722-37d1d9462c29/7EFAED5E-C3B9-470E-8BA1-E9ADE1B0BE0F.jpeg Essays - Studying the male role in Jerome Robbins’s “Afternoon of a Faun” with Robbins: Afshin Mofid remembers - 3. Darci Kistler and Afshin Mofid in the Robbins “Afternoon of a Faun”. https://www.alastairmacaulay.com/all-essays/l5mb28j2rizugm5qlif34abk5sebsc monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6bb6e7c4-4927-4d91-865c-d0fe7f4b1e0f/85112304-DB23-4F3F-9118-2E6AD16EF0E4.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 1: John Cage, Jasper Johns, Merce Cunningham. Photo: Timothy Greenfield-Sanders. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c3c76c1d-3915-416c-a4a4-c48e0f16f1ae/290B4457-71D0-4085-BF37-B9DC0250EE57.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 2: Jasper Johns (kneeling) adjusting or cutting Merce Cunningham’s costume for Cunningham’s “RainForest” (1968). Photo: Jim Klosty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d6b14253-b93e-4e27-af27-7aac93a1d6c7/C461D6FD-B27A-4D0D-853B-3F26D8454AB1.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 3: Jasper Johns spray-painting Carolyn Brown’s costume for Merce Cunningham’s “Canfield” (1969). Photo: Jim Klosty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0ae91091-c4ed-448d-8fd9-57f2cc77b6f1/7B156EE7-6379-4514-A23B-CC405493AEBB.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 4: Dancers in Jasper Johns’s costumes for Merce Cunningham’s “RainForest” (1968), against Andy Warhol’s helium-filled “Silver Clouds” pillows https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5d8afdc4-973c-42b0-b014-cbdd330ead43/1FD36EA5-94BE-4224-A021-7E376FED4406.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 5: Merce Cunningham and dancers in Cunningham’s Exchange” (1978), with decor and costumes designed by Jasper Johns. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/42c1f009-81b1-4e73-b98d-63d00eb0463b/8EC6798E-7891-4BBB-B0F2-D15870A15688.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/14d4a54b-03d2-4225-aa03-7b925fe7e5be/7E1CD418-7A97-4EA8-8B47-93A430092D6E.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 7: Jasper John’s “Numbers”, New York State Theater. Merce Cunningham‘s footprint may be seen on an upper right corner. Legend has it that Johns told Cunningham “I’ve got your foot through the door of that theater”, when the State Theater was new in 1964. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b03bdfd7-a11f-47ad-a62e-580e8001ddc3/58B05676-5E78-4159-94D9-7B7DB99A21EE.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 8. Two former colleagues of Cunningham before the Johns “Numbers” painting, February 2020, New York State Theater: Cunningham’s former dancer Catherine Kerr (left) and his former company manager Marleine Huffman. Cunningham‘s footprint can be clearly seen above them. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a324d61c-a1b5-4376-af0f-0c7023bce1ed/944F0163-0D0F-48DD-95F2-7D751FFBED84.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 9: “Merce’s other foot”: a 2009 painting by Jasper Johns in which Cunningham, aged ninety, placed his footprint once more on a new Johns painting, this time shortly before his death in July that year. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/40478428-a020-4ae6-b5a9-12d1e538177e/FF476898-158D-4B4A-988F-B9294C0AADF7.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 10: Jasper Johns, “Dancers on a Plane” (1980-1981). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9d5279e2-1c7a-4421-9ce0-881a929c8910/CD87DBE3-9661-4AC0-958C-74FDADCF4DDD.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 11: Viola Farber cutting Jasper Johns’s hair. Photo: Jim Klosty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/cfe0ee0c-059a-4a6e-8d12-2f4f9faedebd/E0C7D456-4F29-4C9B-BCA9-E0C9FB2217B7.jpeg Essays - Jasper Johns on Merce Cunningham - nineteen questions (one about Margot Fonteyn) and nineteen answers - 12: Jasper Johns, 2011. Photo: Jim Watson. https://www.alastairmacaulay.com/all-essays/0m00xu88psbawfzn12aqwjgfa8shsi monthly 0.5 2023-03-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8952baba-ff72-4f3f-8e16-cdbbd544ef0b/DA86EC7A-C1FF-444D-99AC-DA1A5B1CB410.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 1: Albert Reid, seen on the documentary film “If the Dancer Dances” (2019) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dc128fc1-f4db-4d88-80b5-fdecd5c2ffac/170F4851-6D4C-4266-B9E5-1034E241883F.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 2: Merce Cunningham (left); Albert Reid (Center); Gus Solomons Jr (right). Screen-capture from the documentary film “498, Third Avenue”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/473bf11a-e0b4-4728-8378-a06f8fa04e47/5F747211-D2EB-46AD-905D-A369FD5F8E85.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1110cea3-6a82-485d-8288-b5d6c31dd84a/171C1FD0-849B-4FFB-879E-25BE62BA64AF.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 3, 4: These blurry photographs of Albert Reid in Cunningham’s “RainForest” (1968) is a screen-capture from the film of that work’s premiere. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7afa5496-85db-421f-8ac0-8836e9194017/4777B190-86A7-4D1B-9ABA-9191D7526D86.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 5. Merce Cunningham, “Walkaround Time” (1968). Albert Reid is in the foreground on the left, Cunningham in the foreground on the right. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bb6497a0-3077-4116-96ed-5f3d27064a9b/4A0BCFA8-8C3B-49AA-854E-BFD832FF636C.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b8e48eb5-c085-4c9b-92bc-e3c3f22fea87/DCB9B785-140D-4753-90AB-54865F424E6C.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 7: Albert Reid at a 2019 California celebration of his career https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/83d2e931-783d-4324-8dab-75ad7d0184ec/45F3ED64-C132-4353-BE46-B1D3549A3B67.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 8: Albert Reid https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dff78bfa-358b-46d2-8b9f-4add96dfc01a/2F24F462-2081-43E0-A3D3-E93DF2E69094.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 9: Albert Reid https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/853bb333-a1c2-42b1-b76b-d4eddfb58c15/35D9FE97-D90D-4C70-979A-172954BE67D0.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 10: Albert Reid https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/94a22034-ee8e-46ca-83f6-90b7f227cdfa/E17C651C-C23B-41A4-B350-A19C7FCBFEA7.jpeg Essays - Albert Reid on Merce Cunningham - eighty-nine answers to eighty-nine questions - 11: Albert Reid https://www.alastairmacaulay.com/all-essays/kau31q1yb9gx39x9783aq4zmr1btn1 monthly 0.5 2022-05-07 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/abe0f3b0-78d8-47c5-949b-423644414005/7D4AB02A-B04F-47B4-A7B4-828C9496B45A.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/44623dda-841f-43f3-b132-4bbcd8010362/D6A1F217-76E0-4FAC-9B1B-399406AF5A64.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/412eac2f-5023-408b-9c20-a4655311d930/2A837C79-8E5F-46C2-A618-1CC69D37CD7D.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - 3: Georgina Pazcoguin in the world premiere of Alexei Ratmansky’s Voices (New York City Ballet, 2020). Photograph: Erin Baiano. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a6f1d358-26e8-4a1e-afe6-05fe829f387e/6E2E1A27-7A1C-4C7B-90F1-2DD3691913AF.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b77cbafe-bede-4656-a781-f67eb8c75cf8/2EB906E2-DFB5-426C-ADCE-A1A28DB84DC4.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - 5: Georgina Pazcoguin and Jared Longhitano, October 2017, Lincoln Center https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/63733166-d5fe-47e0-bf68-7cea3bbcfc14/297F0692-0AA5-4EBE-8CB3-AB4F797D9EC9.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - 6: Jared Longhitano’s Instagram caption to photographs 4 and 5. . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/126a9840-85da-4c6a-9ea6-2bdf88d21602/CF3EAD2D-14B5-4923-967D-4D786F5BDFC4.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0f815078-d2de-407d-99cc-f61f926ae20b/3F770163-E013-4A45-8570-F8323E6E977E.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - 8: Jared Longhitano‘s Instagram caption to photo 7. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1f56537d-049e-4bb0-ab09-ecb34ae375c0/A545B621-AEFE-4130-8935-D6D40DDE2E82.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - 9: Jared Longhitano. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a966d9e5-7505-4241-986c-41c890f0773f/4A63E02A-DB77-4E8C-8E6E-218539FA6AF0.jpeg Essays - Ballerina Autobiographies, Georgina Pazcoguin’s “Swan Dive”, and Gavin Larsen’s “Being a Ballerina” - 10: Jared Longhitano’s Instagram caption to photo 9. . https://www.alastairmacaulay.com/all-essays/8igob0rjbbujdfu3j5e6qrzwbpx8gk monthly 0.5 2024-02-22 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/898a025c-43a8-4487-8a64-7deff850adb2/9A2E8F0C-1F10-4FBA-80A0-A27ED9D96EF6.jpeg Essays - “The Danish Girl” and George Balanchine - 1: The Danish ballerina Ulla Poulsen, in the 1927 painting by Gerda Wegener shown in the 2015 film “The Danish Girl”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6e4d6ce4-deca-42fd-926c-3420559a8b2c/9AD46027-B1C7-4DC9-8AFB-6906C3808362.jpeg Essays - “The Danish Girl” and George Balanchine - 2: Ulla Poulsen and George Balanchine in “Le Spectre de la Rose” (“Rosendrømmen”), 1930, Copenhagen https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ecb06910-4b0d-4edc-9297-1aa2a5e4d592/1E51AD66-BA9B-4054-B541-4BB975D48164.jpeg Essays - “The Danish Girl” and George Balanchine - 3: Ulla Poulsen, painted again by Gerda Wegener in 1934. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5fdc0191-19fa-4167-a8f5-3fb24012b364/D4A803C4-20C4-4BD8-B614-1A06A43D7CD6.jpeg Essays - “The Danish Girl” and George Balanchine - 4: Ulla Poulsen, Danish ballerina https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4b16bdca-479e-4c02-b3ab-417c072f0ad4/DD2D2841-C564-4EA3-8F33-3916E10BF896.jpeg Essays - “The Danish Girl” and George Balanchine - 5: Ulla Poulsen Skou in her old age https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0ea4bd64-5dd3-4c6c-a2b5-8bd390dfa9d5/9D1B09DE-A013-489E-A985-E31A04FF5DB6.jpeg Essays - “The Danish Girl” and George Balanchine - 6: The gravestone of Ulla Poulsen and her third husband (right). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/844bd54f-8c86-4e76-b32b-d36309ac215d/E817C9D6-2569-4906-89B7-45A6E23DC78A.jpeg Essays - “The Danish Girl” and George Balanchine - 7: Einar Wegener, later Lili Elbe, legally renamed as Lili Ilse Wegener https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/be04a3f8-58bc-4fcb-9c61-918dfa4343b4/53025DE1-480C-4957-979E-E9638A516172.jpeg Essays - “The Danish Girl” and George Balanchine - 8: Lili Elbe (Einar Wegener) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1daaeaac-3181-4dce-936d-209e9eeac9c0/F81FA507-BAA8-423B-866D-1E1DF0295EF3.jpeg Essays - “The Danish Girl” and George Balanchine - 9: Einar Wegener, “Poplars along Hobro Fjord”, 1908 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7d319cb8-a7ac-4527-99ab-c09ce91c99c3/83A2FAF1-3FFE-4548-8EE0-8558B1243DC6.jpeg Essays - “The Danish Girl” and George Balanchine - 10: Gerda Gottlieb Wegener, 1904 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b1f7783d-231e-4efc-8f28-3bf07643356c/36954C78-430E-4554-9AAD-DBA6E4B87278.jpeg Essays - “The Danish Girl” and George Balanchine - 11: Lili Elbe, by Gerda Gottlieb https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4d8d58c9-dbf0-4364-beff-bab8e2cef393/77CD6CBA-15E0-43A0-B441-D6586E7C2E5A.jpeg Essays - “The Danish Girl” and George Balanchine . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b85748fe-a26d-472b-bb8d-eaa16e8bbd2e/8777093A-55CF-4028-8148-2EFCDF269BFC.jpeg Essays - “The Danish Girl” and George Balanchine - 13: Lili Elbe, 1930 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9203ba3a-2995-4943-9f3e-be66213458c5/B6C0BA28-AEDD-4726-B6E6-2E007E935633.jpeg Essays - “The Danish Girl” and George Balanchine - 14: Poster for “The Danish Girl” film, 2015 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/591eae20-448b-42f7-a35f-38daf1e9c1ef/67532BE1-D63B-468A-937C-CCD7232EF05C.jpeg Essays - “The Danish Girl” and George Balanchine - 15: Eddie Redmayne in “The Danish Girl” trying on the Sylphide dress of Ulla Poulsen https://www.alastairmacaulay.com/all-essays/mft0lerfpzqt318qvljuraxhwesud4 monthly 0.5 2021-12-01 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0acdb5bf-5808-4238-843f-9107b6761fbc/CBA84655-4518-4879-B15D-8A0884CA0949.jpeg Essays - Mirella Bartrip (1949-2021) - Make it stand out 1: Mirella Bartrip https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/163eeab5-4e87-4590-9ee5-ae6aacbcb0b0/E5A2DF70-0B46-44CB-8024-B4E597353A89.jpeg Essays - 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This 1992 photograph by Tony Nandi shows four crucial woman at the then Laban Centre for Movement and Dance: left to right, Valerie Preston-Dunlop (b.1930), Marion North (1926-2012), Mirella Bartrip (1939-2021), and Bonnie Bird (1914-1995). It startles me to realise that I knew and worked with all four in the 1980s. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9fc66eb2-71fa-417e-a1fa-17849820cf8d/1315BED5-99F7-4F04-AE40-8E9C8CC15799.jpeg Essays - Mirella Bartrip (1949-2021) - Make it stand out 4: Mirella Bartrip https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3e904446-c216-4ffa-978d-308880975895/E1E24C7E-82E1-4E91-B568-B2587B3A5597.jpeg Essays - Mirella Bartrip (1949-2021) - Make it stand out 5: Mirella Bartrip with Alastair Macaulay at the eightieth birthday of Phrosso Pfister, former director of the London College of Dance and Drama. https://www.alastairmacaulay.com/all-essays/nsynxz1h2hiv1jp816nom4xsxbj3pk monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3acfc0ef-3ae8-4b55-a5a9-e92780e788e4/IMG_7768.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2516439e-81df-46ad-9f73-f6a4e62a6191/IMG_7769.jpg Essays - 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Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/74df2352-7cfa-4b64-af91-35869ee80fa5/IMG_7823.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9f18efbf-502e-458b-be1f-a1b9eb056851/IMG_7817.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/517903d1-73f6-43a2-b4a8-a2a60faebc34/IMG_7818.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bdf5b582-cfaf-49ac-ace0-972a0de85ecb/IMG_7819.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6cb2bf3b-b715-447b-adc4-202dcf243665/IMG_7820.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/34d68255-97e0-4e40-92b3-5458fb9bf29c/IMG_7929.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/45555357-4868-4b9d-9a0d-55b065a16725/IMG_7930.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/42408701-f724-46c8-aacb-414d9f16913b/IMG_7931.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/72fc1934-fef5-4806-bd31-879c85250560/IMG_7933.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3a438d6d-8cc9-4506-ac7d-9c5a25dd3557/IMG_7932.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c30ea0d3-c1a5-4100-a92c-ee551d39fc02/IMG_7934.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e1ac77ce-951d-48db-a5ea-b66e2705b5ac/IMG_7939.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1bcda8ba-8cdf-40e3-a34a-32f39d570e66/IMG_7935.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e6e50cf1-9662-49c4-9d8f-babd1f72e373/IMG_7936.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/70658210-3f7a-4d95-8d07-0745bc438520/IMG_7937.jpg Essays - Poussin and the Dance (to the music of time) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2ca4dc02-0611-48d4-89c4-26d9a8b8c477/IMG_7938.jpg Essays - Poussin and the Dance (to the music of time) https://www.alastairmacaulay.com/all-essays/wdfute8hetzbvnwlatg0bqwag0o9ha monthly 0.5 2024-01-16 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796126583-T7B1YQ475495TTN2PJEI/30E447F4-1573-4E30-8ECA-CDB60EE65BA6.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #1. A page from Nicholas Sergueyev’s notation score of The Sleeping Beauty in the Harvard Theatre Collection https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796181660-O9DAOTY4W3TMX1B5WP50/2CB5BF93-025A-4832-ACB2-79E35E89A435.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #2. Marie Petipa and Anna Johansson with pages in the original 1890 Sleeping Beauty.(See question #3.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796204925-CWASJBT15MCSESEIL2AR/A9D9829A-6A02-46B1-A332-862EB779FF4F.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #3.Marie Petipa and Anna Johansson with pages in the original 1890 Sleeping Beauty. (See question #3.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796249084-6BT8BAKKI1YUCJ5250KZ/F62B51E5-6D11-4A8D-923C-43AC3665DF1B.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #4. Tamara Karsavina as Medora in Le Corsaire. See question #3 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796287775-P88D0WBCJ68WN07QRFOI/A966DE8F-38AE-4FB9-B5D4-7155B76895AE.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #5. Tamara Karsavina in the title role of Paquita.. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796421046-BZNSGUF1PXR6TQFUHISG/64DF5BAF-B476-4E5A-901A-69DF104BD9AF.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #6. Pierina Legnani in arabesque. (See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796451915-VH2GVLS686POO3BP41IX/824A9333-D05E-41A5-97CE-C6102309219F.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #7. Olga Preobrazhenska in arabesque with Nikolai Legat.(See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796482472-3UJS903V3LMW2MCSI4B7/B2F6F5C0-2215-424F-A709-388582951CC1.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #8. Agrippina Vaganova in arabesque. (See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796508549-PXX8XIWKLVI6MURIG8OR/9B2C9DB7-A624-4898-89E4-6E1BE6987BDA.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #9. Ekaterina Geltzer in arabesque. (See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796539559-KNZV2TX1BCU6HUW85FU0/F5F2E2DE-2402-4355-9EE4-29E387BDA16E.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #10. Julia Sedova in arabesque. (See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796566106-SYAZNJICMWRSY2J86LWP/1CC145B5-936A-44C7-9EBE-F33010C84E95.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #11. Arabesque ouverte as shown in a French 1890 textbook. (See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796593461-KW9GS2BXGDI9MDNUOLPM/DE4DF8D6-215B-4106-AB25-85FA66C33B88.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #12. Arabesque croisée as shown in a French 1890 textbook. (See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796693443-499UDR0TA5HL88D5BKIY/800AADDB-333D-4001-8B43-92FA469E9CAC.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #13. Arabesque as shown in a French 1890 textbook, very much along the lines of Carlo Blasis. (See question #15.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796734116-68XWWT6RCFPPRYGSWUCS/1006CA89-9A22-48C2-B06C-B08C1219AD4D.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #14. Ivan Vzevolozhsky’s design for Fairy Candide (the first to dance a variation). (See question #25.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796754269-RCV1OYJHMP7ARQXEYYVO/5B2AA65F-4E0B-45A9-AC4F-64D78C347D29.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #15. Ivan Vzevolozhsky’s design for Fairy Fleur de Farine (who dances the second variation). (See question #25.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796793015-TAW743L0KLIFFBHNOH6F/E5AF8945-E675-4EE0-98AA-AE4226744400.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #16. Ivan Vzevolozhsky’s design for Fairy Miettes-qui-tombent (the third to dance a variation). (See question #25.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796830248-XRPAOOR3WGVDAM4GPK3R/1F9C4262-36D5-4585-A83F-CBBE42897EC6.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out 17: Ivan Vzevolozhsky’s design for Fairy Canari (who dances the Prologue’s fourth variation). (See question #25.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796876782-B69SP78DLRL4BJIS6AO1/C9143E1A-0F6E-4DB3-A40C-1CE25501FCE4.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #18. Ivan Vzevolozhsky’s design for Fairy Violente (the fifth to dance a variation, often known as the “finger” variation). (See question #25.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796899686-5VN3SGJVRS0MELG7HC4B/D210010C-5CF4-4DFC-8026-7279017F2D96.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #19. Ivan Vzevolozhsky’s design for la Fée aux Lilas or Lilac Fairy (dancing the sixth variation).(See question #25.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796926104-MYBS9OCHJ0IVLCWJWSR0/1AD9F0D5-CDAF-4B8A-9952-94BDC410ACE4.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #20. Prologue. The fairy godmothers, three standing and three kneeling; five of the six fairy cavaliers, standing. Photo: Gene Schiavone, American Ballet Theatre. (See question #28.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796950977-7RQIHRFPMJF8R2QSDY7Z/8933490A-D792-4E46-9DE4-9F295AE1052A.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #21. The original Fairy Violente and her page, Vera Zhukova and Platon Karsavin (Tamara’s father). (See question #29.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633796978492-CZ8JMAZHWQ98KRKYYBQY/DD386D14-CB48-482F-B07D-76925929271C.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #22. In attitude with arms en couronne, a slight tilt toward the bent leg as shown in the Carlo Blasis handbook The Code of Terpsichore. (See question #29.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797003991-VCIF8EO1LBB6G9BBK949/FDAE05EF-504B-4A39-9E42-01161D6E74F6.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #23. In attitude, again a slight tilt toward the bent leg as shown in the Carlo Blasis handbook The Code of Terpsichore. (See question #29.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797036338-UP2QVPOZK0PCA9Z1NFUH/E2BD11C0-D673-460A-8E64-DF402D7F8207.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out 24. Iuliana Lopatkina in Swan Lake, showing the same slight inclination of head and upper body back toward the raised leg en attitude. (See question #29.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797066670-LM8QWPCXKHWKJ9JVQZPP/75BA9302-DA2D-4170-A3FA-4A30C4344B91.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #25. Six fairy godmothers in the Diaghilev 1921 production of The Sleeping Princess. Left to right as identified in the December 1921 Dancing Times: Bronislava Nijinska, Lubov Egorova, Lydia Lopokova, Felia Doubrovska, Vera Nemchinova, and Lubov Tchernicheva. (Richard Buckle, in In Search of Diaghilev, identifies the second as Ludmila Schollar. He also identifies the photographer as Miss Peggie Cochrane, Stage Photo Company.) The Diaghilev production featured seven fairy godmothers; it remains uncertain why one of them, Lydia Sokolova, was omitted from this photograph. Possibly this is just a publicity photograph taken when Sokolova was unavailable. (See question #32.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797098484-IXERXXDB5MQEOXPDJEMO/D2D991BF-B6A1-496D-846C-13B6911CA981.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #26. Prologue adagio: Sergueyev’s original score. (See question #32.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797128907-ROK80RWZ6PMJWFX6KWQG/CAA04F21-35F8-4106-9ACA-05E7F5EE66EC.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #27. Prologue adagio: Sergueyev’s revised notation (right) from the 1920s with altered number of dancers. (See question #32.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797164455-5AK2U9Y67KUULD1Z14YN/DFFDA4BA-66E1-49CD-89B8-33DD2EC3547D.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #28. Julia Sedova as Fairy Violente.. (See question #40.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797189149-CUVGLFHQKKAF1YB5BGLT/C307608C-CD16-4E7C-BE42-354E47E4C16F.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #29. Julia Sedova as Fairy Violente, demonstrating the idiosyncratic port de bras used by this character (in her variation alone) in Ratmansky’s production. (See question #40.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797219096-WB5JL20SPNKS14WDNIJS/FC80422F-8710-4A9F-A7AE-C241FAADADF0.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #30. Julia Sedova as Fairy Violente. (See question #40.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797239621-6W5DZS9MDBTLYHX5DMKE/2DF28839-04BA-43D7-947F-3F405E9C9B01.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #31. Ivan Vsevolozhsky’s 1890 design for Catalabutte in his Prologue costume. (See question #40.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797259983-YS89GR09JN0Y8SALUBCZ/EA502230-B70B-4A47-906D-7D073422C671.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #32. Timofei Stukolkin, the original Catalabutte, in his Act I costume. (See question #40.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797284578-OZOKGSM4BCZZPIP0Q46H/4B1A16D2-924D-4343-83AD-711871C611A5.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #33. Jean Jazvinsky, the Catalabutte of the 1921 Diaghilev Sleeping Princess, in wig and costume for the Prologue. (See question #40.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797338102-VE6U3IPJSMAGKPL63KW3/77D54FBB-E48C-4061-942F-A27FD51F5D5F.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #34. Original designs for the Garland Dance in the 1890 Sleeping Beauty production. (See question #54.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797364321-6O00818IMSAEKRD7Q9CW/A5C39219-BBD6-43CB-BA13-5813E9496A09.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #35. Ivan Vzevolozhsky’s designs for the Sleeping Beauty production. (See question #54.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797383896-85PWG4NSP94KDMERKAW1/CF07F1E4-7CE4-49B4-9DB8-7AE0F6315F92.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #36. Ivan Vzevolozhsky’s designs for the Sleeping Beauty production. (See question #54.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797417035-E5EUAX5VLKWEODR7Y4HG/2FCD2467-F8C8-4D42-9E6A-D03090E16673.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #37. Ivan Vzevolozhsky’s designs for the Sleeping Beauty production. (See question #54.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797439169-GGXEL7FDEJXT4RFNRB2C/AB9CD67F-2EC3-42D3-838C-C32412D9489F.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #38. Photograph of a dancing violinist in the 1890 Sleeping Beauty production. (See question #56.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797462372-1XCETXHB5BIC1H4Y47IW/2E958C33-09A1-431C-AE2B-18677D4E6C45.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #39. Richard Hudson’s costume design for the dancing violinists in the American Ballet Theatre production. (See question #56.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797484235-9SHZKT2YEHJMFI11EDLT/1FC20D8A-E313-4CED-B6FA-EBB8C8A684E4.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #40. Olga Preobrazhenskaya and Nikolay Legat in The Nutcracker. (See question #61.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797510422-GCHWNV4RT7AD0O38S7Y7/1E0C824D-FB7E-4AB9-AC36-C0D3C97AC347.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #41. Pierina Legnani and Sergei Legat in Camargo. (See question #61.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797533394-FUF79TY7UJWKTM6QGZNG/D87260A9-5436-4737-A1F5-81BFF9C4C8AA.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #42. Anna Pavlova and Mikhail Fokine in Harlequinade. (See question #61.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797558540-UK9M9MSFY9QCPUGK70TA/2D89452B-CAB1-4234-9C17-68BBF469B9D8.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #43. A fragment of notation for the Rose Adagio, recording Vera Trefilova’s being lifted by Samuil Andrianov (“the best” of the four princes). (See question #65.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797585212-Z2T1U91KSYBTIQY32Y3G/013E7AB6-4CFE-45A3-80A9-7F1E43781C4F.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #44. Margot Fonteyn in piquée penchée arabesque in the opening zigzag of Aurora’s Act One violin variation, in the 1939 Vic-Wells production staged by Nicholas Sergueyev with designs by Nadia Benois: Fonteyn subsequently danced a more orthodox first arabesque here, but this photograph and others confirm Pamela May’s memory that Sergueyev taught this penchée. (See question #68.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797604781-HQ76QUMOQG78N9FXRG9B/305CE791-FC6E-4EBE-97CB-63F61519ABF3.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #45.The notation for the opening of the pas de trois of odalisques in Le Corsaire. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797627427-GVCQ5P7HIS1YG78ZBXZB/34D8C5C3-D4FB-417D-BE39-EF25872F682A.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #46.The notation for the jumping diagonal with which Aurora makes her final entrance in Act One. (See question #76.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797651714-2R16NW9J4XMKWI4Q2LUM/E82B3FEA-FDD3-4BB9-8E8B-EEA699647274.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #47. Gillian Murphy in the diagonal with which Aurora makes her final entrance in Act One of the Ratmansky production for American Ballet Theatre. (See question #76.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797676499-8JLFF5R4GZAHB9I56H0N/ED4B649E-DC84-41ED-91C7-B9EDBCF75DB5.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #48. One notation for a sequence in the Vision Scene adagio, showing both columns of nymphs facing the same way. (See question #85.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797696457-KVY3HUAQUNWKVHQZKNYD/4BCE51F1-FC86-4EB5-B4B1-1F32B65A076A.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #49. Another notation version for the same passage as #48, showing both columns facing into the wings. (See question #85.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797734585-F6P9GO324VSK0WKWXRE6/1746D320-7371-49E1-A3DE-4646B9C9C642.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #50. Hee Seo and Cory Stearns in the Act Two Vision Scene of The Sleeping Beauty: Gene Schiavone, American Ballet Theatre. (See question #86.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797754198-OVVOJK3N2OHAS3D7CS57/E8F00CCD-103F-407D-9AEB-CA7691342058.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #51. This image shows the sea-shell toe-hold with which Aurora took a balance in the Vision Scene. The Lilac Fairy stands on the left, Prince Désiré on the right. In the 1990s, Julia Farron recalled that Nicholas Sergueyev reproduced this effect in his 1939 Vic-Wells production. (See question 88.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797771398-Z00WWLRSM624F3UM5NY8/EEB008C1-A0C1-4038-BBF6-793DA529CF16.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #52. This photograph of the same moment shows Mathilde Kschessinskaya (Aurora) being supported by Pavel Gerdt (not shown by the notation), while Marie Petipa (Lilac Fairy) stands on the left.(See question 88.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797795888-E93IJ9TELB0N2VT617BA/048FD348-4749-46D4-8E05-0A6583211D23.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #53. A photograph of the same Vision Scene climactic moment as staged by Gorsky at the Bolshoi Theatre, Moscow, from the notation of the Maryinsky production.(See question 88.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797817158-B0Q08ATU1CQTYSYIHS7A/647542EA-4185-43DF-B97B-186259479515.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #54. Ivan Vzevolozhsky’s sketch for the costume worn by one of the nymphs in the Vision Scene. (See question 88.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797834684-TT5PE9J2A8CQXQ6VC605/587C17D2-ACC0-4DCE-838A-A2048E7A6078.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out 55.Notation for Mathilde Kschessinskaya’s alternative version of Aurora’s variation in the Vision Scene. (See question 90.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633797853707-YVX8GHH9T7FYBHES28B0/ED871AA0-8ED5-40A2-B117-C0AA41DC7BA5.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #56.Leon Bakst’s design for Aurora’s bedchamber before the Awakening. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798386237-NGPSXYZ8NGQ6YXOIPZFB/D0CD1822-4A1B-45DE-B548-652C0C73518A.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #57.Photograph of the original Maryinsky production, with female corps de ballet lining the stage before the Awakening. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798407985-AE0VNNOCM3B3CL43LQUK/E8F55466-4790-42A4-940F-96D420D032B8.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #58.Photograph of the first Bolshoi production, with female corps de ballet lining the stage before the Awakening. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798458404-J61F8YOC4H2PE2L0DF58/139DF13A-F0D1-4B57-B9E1-A75D0347A2E0.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #59. Vera Trefilova as Aurora in the 1921 Diaghilev production, The Sleeping Princess. (See question #99.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798501369-95NDKBDRJ5PY2XYLCOTV/9789E18C-9224-4E0E-A920-B141C577DC38.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #60. Vera Trefilova as Aurora, with Pierre Vladimirov as Prince Désiré, in the 1921 Diaghilev production, The Sleeping Princess. (See question #99.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798543937-QMTL0LZDRD5GSRQK301Z/DFD5B6A1-C1D5-4791-8A12-1A31FA69072A.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #61. Vera Trefilova as Aurora in the 1921 Diaghilev production, The Sleeping Princess. (See question #99.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798565131-MHI9E85LH7G7VL48FVFB/28333292-8885-4DCB-BD53-654EEFFC298C.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #62. Vera Trefilova as Aurora in the 1921 Diaghilev production, The Sleeping Princess. (See question #99.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798582252-T79H11QD4EQLPPXEYROL/5B439B4D-C056-4DCD-A73F-5D553327E89F.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #63. Vera Trefilova as Aurora in the 1921 Diaghilev production, The Sleeping Princess. (See question #99.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798601250-ZKDDQMFQZK9I0221ZP6Z/684E1237-C0C5-4C6D-8366-00357853D826.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #64. Vera Trefilova as Aurora in the 1921 Diaghilev production, The Sleeping Princess. (See question #99.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798616916-P7FAF5D3GHGXK87VDFES/9E51B1FF-06AB-4C24-BBFF-0CEC2E16277D.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #65. Pavel Gerdt’s drawing of one partnering effect in the Act Three Wedding adagio for Aurora and Désiré. (See question #100.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798633686-ODPQZTPQNLQB3RK7NTDL/D704C73E-31EA-4817-B051-C259AB89692A.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #66. The notation for the same moment (#65) in the Wedding adagio. (See question #100.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798654499-SWPZWTA2LJ7OAMUOO5S1/C6A214F3-4518-41EB-865F-244668C3D962.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #66. Pavel Gerdt’s 1894 drawings of lifts in the Wedding adagio for Aurora and Désiré. See question #101. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798670717-LJRNF5MF7I7UAVJHKGPO/E798B6D4-296F-482D-B1E9-B39E62980E49.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #67. Elsa Vill and Mikhail Oboukhov in the “diamond” lift. (See question 101.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798686376-EB3MJ3596ILOBTREYFH7/8E576C21-DFCC-4077-9852-41FD50A04711.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #68. Pavel Gerdt’s drawings of a “diamond” lift in Flora’s Awakening. See question #101. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798702379-Q76G38299KJV3G2NLGVN/00DBF3AF-50BF-4AB0-AAAB-C2EF2D7A63FB.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #69.Marcelo Gomes holding Diana Vishneva in a “fish” lift in the Act Three wedding pas de deux in the American Ballet Theatre Ratmansky production. (See question 102.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798720582-5EHHQF34RNOWJWTJH0X5/59FE24E3-17C7-454F-8B05-E16C74CC3CBA.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #70.A photograph of the Sleeping Beauty finale in the original Maryinsky Theatre production. (See questions 110-111.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798735703-KS9EC4IIVR5PRIK6CN2U/FD03B59A-FCD5-4670-A909-AD1469442DFB.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #71.Ivan Vzevolozhsky’s designs for the final set of the 1890 production of The Sleeping Beauty. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633798757770-QNH4K6ZZNX7HS7MBUKZJ/1C4D1D31-FD14-4640-AC2D-A8AA551966B7.jpeg Essays - “The Sleeping Beauty”: a hundred and twelve questions, a hundred and twelve answers - Make it stand out #72. The finale of Act Three as staged by Alexei Ratmansky for American Ballet Theatre. Photograph: Gene Schiavone, American Ballet Theatre. (See questions 110-111.) https://www.alastairmacaulay.com/all-essays/orgjvpm8n3pl341o9hd0rjbtvldlp2 monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/245ab35f-1ec7-42d6-80d8-d46b22121840/IMG_3257.jpeg Essays - Dante’s “Divine Comedy” according to Wayne McGregor, Thomas Adès, and Tacita Dean - 1: “The Dante Project”: Gary Avis (Virgil) with Edward Watson (Dante). Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/af04114f-a6a9-4553-bcb3-b2cbb57a93b5/IMG_3264.jpeg Essays - Dante’s “Divine Comedy” according to Wayne McGregor, Thomas Adès, and Tacita Dean - 2: “The Dante Project”, Inferno: Pilgrim scene. Photograph: Foteini Christofilopoulou. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/14408814-9dd8-4ce7-9356-9ac47d01b4b2/IMG_3272.jpeg Essays - Dante’s “Divine Comedy” according to Wayne McGregor, Thomas Adès, and Tacita Dean - 3: “The Dante Project”: Edward Watson (Dante) with Fumi Kaneko (Satan). Photograph: Foteini Christofilopoulou, https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5b0b73eb-727b-49e4-9b73-e62dd6b8a948/IMG_3245.jpeg Essays - Dante’s “Divine Comedy” according to Wayne McGregor, Thomas Adès, and Tacita Dean - 4: “The Dante Project”: Edward Watson (Dante), Sarah Lamb (Beatrice). Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/86bb11fb-1616-4546-8f9b-af37151e3534/IMG_3251.jpeg Essays - Dante’s “Divine Comedy” according to Wayne McGregor, Thomas Adès, and Tacita Dean - 5: “The Dante Project”: Purgatorio. Left to right: Joseph Sissens, Matthew Ball, Calvin Richardson and Ryoichi Hirano. Photograph: Andrei Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/93bd2824-5b27-483a-a7b1-479ea49eb66c/IMG_3249.jpeg Essays - Dante’s “Divine Comedy” according to Wayne McGregor, Thomas Adès, and Tacita Dean - 6: “The Dante Project”: Edward Watson (Dante) and Marco Masciari. Photograph: Andrej Uspenski. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1a1eeded-cd27-4e10-a0ce-4fef5e55449f/IMG_3246.jpeg Essays - Dante’s “Divine Comedy” according to Wayne McGregor, Thomas Adès, and Tacita Dean - 7: “The Dante Project”: Inferno: Pilgrim. Photograph: Tristram Kenton. https://www.alastairmacaulay.com/all-essays/1eskyjoa8qihzt034doh7gdv4bedfp monthly 0.5 2025-08-13 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633568128042-QIFOY4TD6AUYMMXBCTHH/1E02E184-8611-44EE-A5AC-E8FDF8502FE4.jpeg Essays - Sugarplumgate - Make it stand out Jenifer Ringer and Jared Angle as the Sugarplum Fairy and her Cavalier in New York City Ballet’s production of George Balanchine’s version of The Nutcracker. The photograph is undated: they certainly do not look here as if they would prompt anyone to remark “God, they’re fat” as they did in 2010: the remark that started an avalanche. https://www.alastairmacaulay.com/all-essays/7a0606yovveyt34ijc9yt14q2zf8x4 monthly 0.5 2021-10-02 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633214311348-X7A1L4N050I4U435FS4S/IMG_8103.jpeg Essays - Caryl Churchill and more things in heaven and earth 1: John Heffernan and Linda Bassett in Caryl Churchill’s What If If Only. Photo: Johan Persson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633214412776-O7WQ8AYCG3FOB8MQASWB/IMG_8105.jpeg Essays - Caryl Churchill and more things in heaven and earth 2: John Heffernan and Linda Bassett in Caryl Churchill’s What If If Only. Photo: Johan Persson. https://www.alastairmacaulay.com/all-essays/m95nl9r9bbrt3b9buwf6ggwgj8fr83 monthly 0.5 2021-10-02 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633099613804-W4VE8HTHWSP3EG46GYQV/IMG_7980.jpeg Essays - The importance of “The Normal Heart” 1: Ben Daniels (left) as Ned Weeks; Dino Fetscher (right) as Felix Turner. Photo: Helen Maybanks. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633099721281-5ZN8HXWQHICAP2GCRURN/IMG_7982.jpeg Essays - The importance of “The Normal Heart” 2: Liz Carr (left) as Dr Emma Brookner; Ben Daniels (right) as Ned Weeks. Photograph: Helen Maybanks. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1633099814437-FG8XEATF3YWRV9R68A0A/IMG_7984.jpeg Essays - The importance of “The Normal Heart” 3: Dino Festscher (Felix), left, with Ben Daniels (Ned), right. Photo: Helen Maybanks https://www.alastairmacaulay.com/all-essays/f6uxn0unknyh07yr5fshdzqjlppw0a monthly 0.5 2021-09-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632747615719-DO9SP7E15U7G4G7VKIWH/IMG_7056.jpeg Essays - Silent screams, Akram Khan’s “Creature” and bad trends in British ballet choreography 1: Jeffrey Cirio, as Creature, emitting one of the many silent screams of Akram Khan’s “Creature”, new at Sadler’s Wells on Thursday 23 and seen by me on Saturday 25. Photograph: Tristram Kenton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632747736970-FW5V1Y56A03RO7N3XWXN/IMG_7057.jpeg Essays - Silent screams, Akram Khan’s “Creature” and bad trends in British ballet choreography 2: Cirio as Creature, silently screaming yet again. Left, Fabian Reimar as Captain. Centre, Ken Saruhashi as Major. Right: Stina Quagebeur as Doctor. Photograph: Alastair Muir. https://www.alastairmacaulay.com/all-essays/09i3ute9pjpgirffzt7ev76tkahnr2 monthly 0.5 2022-01-09 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632487091634-9WHY82WVL3EHWWXX4QC1/IMG_6497.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 1: The Feuillet notation for “The Favorite, a Chaconne Danc’d by Her Majesty” i.e. Queen Anne when she was Princess Anne. The dance was performed c.1690, when Anne was sister to Queen Mary II and Mary’s husband William III. This notation was published in 1706. We do not know who partnered Anne here. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632487301842-HKEWTZ35PSZKYANQPC67/IMG_6498.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 2: Queen Anne (1665-1714) as portrayed by Michael Dahl in 1705. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632487401151-3RRNAA8BWSK8X74X22HM/IMG_6499.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 3: Queen Anne in 1685 as Princess Anne (daughter of James II), Princess of Denmark (wife of Prince George of Denmark), around age twenty, painted by Jan van der Vaardt and Willem Wissing. Scottish National Portrait Gallery. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632487755540-CA73N5CQJUHS8YMI5P84/IMG_6502.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 4: Olivia Colman as Queen Anne in the 2018 film “The Favourite”. She won the Oscar for Best Actress. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632487929132-RH5KUXXCH98A2DN618FW/IMG_6506.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 5: Louis XIV of France (1638-1715), dancing the role of Apollo (Apollon) in his early teens in Le Ballet de la Nuit, a ballet de cour. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632488219140-K1YDD9DB4VS14MA6YII3/IMG_6507.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 6: Louis XIV, in his mid teens, dancing the role of War (La Guerre) in The Marriage of Peleus and Thetis (1654, Les Nopces de Pélée et Thétis), a ballet de cour. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632488526231-TJI0DGYDFIHG4IIMPYT5/IMG_6509.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 7: Louis XIV (the king, Le Roy) as Apollo (Apollon) in a ballet de cour. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632488698848-X6OSGE4YGWJFZ4B302P1/IMG_6514.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 8: An illustration from Pierre Rameau’s Le Maître à danser (1725), a manual on the ballroom dances of the day. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632488895200-DZJ8QHIXWIPYEHAQBJQQ/IMG_6515.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 9: Another illustration from Pierre Rameau’s Le Maître à danser (1725) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632489247709-96QIJJADRUIWTLU8TU0A/IMG_6520.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 10: An often reproduced engraving of Marie-Thérèse de Subligny (1666-1735), leading female dancer of the Paris Opéra, dancing. Because the known depictions of Subligny show her in the full-length dresses of a court lady, it has often been assumed she always dressed thus for ballet, but the notations and descriptions of her dancing suggest she, at least for some numbers, wore shorter or different attire: her feet were seen turning in and out, moving at speed. The patches on her face, bizarre to modern taste, were part of Versailles fashion. The fashion is mentioned in a letter by Louis XIV’s sister Liselotte, duchesse d’Orléans. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632489916025-UCS7NLD83GWR3JK0B6UY/IMG_6556.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 11: A collage arrangement of the same picture of Subligny, made by the artist Jean Mariette (1660-1742) in the early eighteenth century. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632490125934-FZJQ76X1K67NG81DH28G/IMG_6558.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 12: Claude Balon (or Ballon, 1671-1744), leading male dancer, choreographer, and dance teacher, of the Paris Opéra for many years, in an engraving. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632490379289-Q4PL7S9LRHJEH7Q1ROLH/IMG_6525.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 13: Claude Balon (Ballon). His first name has often been incorrectly given as Jean. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632493353444-6FV3768E75X1JU7R3ROZ/IMG_6534.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 14: Françoise Prévost (1681-1744), leading female dancer of the Paris Opéra, depicted c.1723 - presumably with considerable artistic license rather than accuracy - as a bacchante. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632493423545-RE2P9WMN2OMGYCMU9M1F/IMG_6528.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 15: A now well known painting of the leading London dancer Hester Santlow (c.1693-1773) in the Harlequin dance for which she was renowned. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632493465645-C6YW7FEUGTU7GLEF9WQS/IMG_6529.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 16: Hester Santlow, both actress and dancer, was famous not only for her dancing but for her looks. Of the few portraits of her, this perhaps gives the best idea of her personal loveliness. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632493557048-3S8LF02DZUABJETOW4KD/IMG_6531.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 17: The Feuillet notation for the Passacaglia from “Venus and Adonis” danced by Hester Santlow. From Anthony L'Abbé’s A New Collection of Dances, published around 1725 She was known as “Mrs Santlow”, but the word “Mrs”, short for “Mistress”, applied to unmarried women as well. When she married (to the actor Barton Booth), she appeared as “Mrs Booth” for the final fourteen years of her career. When her husband died in 1733, she was probably about forty years of age; she immediately and permanently retired from the stage. Her long retirement lasted another forty years. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632491740449-KV11HRH3IR6TDQCDZIIY/IMG_6535.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 18: The Feuillet notation for the Chacone (Chaconne) of Amadis as performed by Mr (Monsieur) Dupré (Louis Dupré), who appeared in London for some years opposite Hester Santlow and in the innovative dance-dramas of the choreographer John Weaver. It was long assumed that this Louis Dupré was the later and more celebrated Louis “le grand” Dupré, who enjoyed a long career as the leading man of the Paris Opéra; but this has now been disproved. From Anthony L'Abbé’s A New Collection of Dances, published around 1725. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632495778130-BN0FGHHIF48147JKANVS/IMG_6538.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 19: Marie-Anne Cupis de Camargo (1710-1770), as portrayed by Nicolas Lancret (1690-1743) c.1730. This version hangs in the Wallace Collection, London. Lancret made at least two other very similar paintings of Camargo: see 20 and 21. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632496127364-2AI6CTR8GVKE9LSCCLL5/IMG_6541.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 20: Marie Camargo, in another painting of her dancing by Nicolas Lancret. (See 19 and 21.) This one hangs in Berlin. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632496445952-3H6JBQHSCUQQ8845O8AL/IMG_6543.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 21: A third painting by Nicolas Lancret of Marie Camargo dancing. (See 19 and 20.) The differentiating feature here is that she has a male partner, though his name is unknown. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632496558487-DJZ8S8FP6M6IYHB73546/IMG_6546.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 22: These pair of statuettes of Marie Camargo - differently arranged in the two photographs - are in faience (glazed ceramic ware). Probably modelled on Lancret’s painting, they are believed to have been made c.1745. Haughtom Gallery. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632496891211-ZJVNR178ZKB16VNJVOSY/IMG_6548.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 23: This engraving of Terpsichore as the third muse is by the engraver Nicolas Bonnart (1637-1718). Made in the late eighteenth century, it shows the muse of dance with skirts revealing her ankles. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632497180971-84DMSE2U1EKLUDXUTFEN/IMG_6550.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 24: Hester Santlow herself owned this copy of the Ellys painting of herself in the Harlequin dance (see 15). Her skirts end higher in this version, revealing the ankles. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632497416225-3LZZOM3C530NGJ042A6P/IMG_6552.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 25: This, published in 1731, shows François Nivelon and Mrs Laguerre dancing together: her skirts are tucked up to almost knee-level. This was the frontispiece to Harlequin-Horace; or the Art of Modern Poetry. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1632497690236-RXKYSAOSCAFLGH9X5Y75/IMG_6554.jpeg Essays - “The Favorite”; the word “choreography”; baroque dance onstage and in the ballroom, in England and in France; Beauchamp-Feuillet notation… and more 26: This small oil painting, by Marcellus Laroon, may date from c.1730. The couple are on what seems to be a small stage; her skirts show her ankles and calves. https://www.alastairmacaulay.com/all-essays/y03xsr79qf8rkg25djx4ybpu2za8f2 monthly 0.5 2026-04-03 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631319468098-DL9QCRYO50VDB6N1LWOR/IMG_4385.jpeg Essays - Notes on Revisiting My Boarding School 1: Felsted’s original school, founded in 1564 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631319524123-G8IAZTZYWQ1G83Z1I9M6/IMG_4390.jpeg Essays - Notes on Revisiting My Boarding School 2: The old school’s half-timbered portal, with a doorway on the right leading upstairs. Felsted Church lies beyond. It contains a monument to Richard, Baron Rich (1492-1567), the school’s founder and one of English history’s more notorious figures, who is commemorated each Whit Sunday there. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631319739908-5NUIIUFQ7ZQ4MBFAV95H/IMG_4391.jpeg Essays - Notes on Revisiting My Boarding School 3: The same 1564 old school building as seen from the main street of Felsted village. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631319860054-XE7RSE16RMZB4POYEGUF/IMG_4397.jpeg Essays - Notes on Revisiting My Boarding School 4: Deacons House, Felsted, opened as a new house (the newest of seven) in 1964, with John Cockett as housemaster for twenty-one years. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631320406577-QA5SAKDHBZWZF8Q5MKQ3/IMG_4400.jpeg Essays - Notes on Revisiting My Boarding School 5: Deacons House, Felsted School: its exterior seemingly unaltered since 1964. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631320535983-4OX8K8OEIHV0MLNY20J1/IMG_4399.jpeg Essays - Notes on Revisiting My Boarding School 6: The boys’ main entrance to Deacons House. The emblem over the door was designed and constructed by one of the 1964 Deacons boys, named Grimshaw. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631321687330-PWAXJRBC3PRSLMFU2Z5F/IMG_4410.jpeg Essays - Notes on Revisiting My Boarding School 7: Felsted School Chapel, built and opened in 1964 for the school’s quatercentenary. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631321774893-Q56D2WASI6S0DFUH2ULT/IMG_4411.jpeg Essays - Notes on Revisiting My Boarding School 8: The side of Felsted School Chapel, with present students welcoming alumni to today’s memorial service for John Cockett (1928-2020). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631321900119-4JZAF0ZAKOM5LKCR7JSH/IMG_4415.jpeg Essays - Notes on Revisiting My Boarding School 9: An incomplete view of the interior of Felsted School Chapel. Students attended - presumably still attend - religious service here not only on Sundays (three hymns, two psalms, one sermon, sundry prayers) but also four weekdays (two hymns, one psalm, multiple prayers, every day), with also congregational practice (and further prayers) on Saturdays. The foundation stone was laid by the Queen Mother in 1964. On the school’s four hundredth and fiftieth anniversary in 2014, the Queen and Prince Philip attended a service here. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631322199939-2LI0MWOVEZ2QUQZQ42H8/IMG_4425.jpeg Essays - Notes on Revisiting My Boarding School 10: The altar and stained glass windows of Felsted School Chapel. No detail appears to have changed in fifty-seven years apart from the arrival of the banner reading “Garde Ta Foy” (“Keep Your Faith”), the school motto since 1564. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631322357495-9I2PVK9G6NEPMS7DMPCA/IMG_4407.jpeg Essays - Notes on Revisiting My Boarding School 11: The façade of the Victorian main Felsted School building, left, and headmaster’s house. At the end, the Grignon Hall, venue of the school’s weekly non-religious assemblies and (for many years) its termly theatrical productions. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631322527464-12Y5KP8OTCHWBZFFZ1KZ/IMG_4434.jpeg Essays - Notes on Revisiting My Boarding School 12: Corridors behind and near the Grignon Hall are now an array of photographs of eminent alumni of Felsted School. I’m amazed and amused - and honoured - to find that the rogues’ gallery in this corridor includes my portrait on the left. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631322720612-FMH7GWMF9T0L91TVFZXG/IMG_4435.jpeg Essays - Notes on Revisiting My Boarding School 13: Throughout my years at Felsted School , 1964-1973, masters, mistresses, and matrons would tell me to comb my perpetually untidy hair. This photograph makes me wish that the master who took it today had told me to comb it yet again. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631322844532-F7YBUWG5FWOLPISRT0SV/IMG_4438.jpeg Essays - Notes on Revisiting My Boarding School 14: This portrait of the lighting artist Bruce Munro gives me perhaps more pleasure than to find my one portrait nearby. Bruce was a new boy when I was a prefect. Instead of giving him the conventional punishment for offences, I once made him copy a Keats poem and discuss it, and once made him write an essay about painting. Years later, he claimed the essay about painting was the wake up call that made him commit to visual art for the rest of his life. In 2012, I found the essay in an old file in my parents’ essay, and was able to copy it and send him what he had written. His brother Matthew was my contemporary and head of Deacons House in my final two terms. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631323541342-2V214GWI8FY3HEXKPTHJ/IMG_4448.jpeg Essays - Notes on Revisiting My Boarding School 15: Jenny Stephens, a Felsted alumna of my final two years there, with whom I adored acting and with whom it’s been moving to resume contact in the last eighteen months. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631323643828-EZ624M9AZO6WB8J5LHDO/IMG_4453.jpeg Essays - Notes on Revisiting My Boarding School 16: This view of late-afternoon cricket on the First XI pitch is one quintessence of Felsted School tradition. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631323747195-UB67R58I5SP1L27NVNSE/IMG_4454.jpeg Essays - Notes on Revisiting My Boarding School 17: A nearer side of the same First XI cricket pitch at Felsted School. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631323816438-87C9TE3HJ3JSSVT72NPE/IMG_4458.jpeg Essays - Notes on Revisiting My Boarding School 18: The façade of Felsted School’s main building, containing three of its seven houses. Victorian public-school architecture has a character to be found in several other institutions around England. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631324024068-P0X8076D5DZJHYOU4INO/IMG_4462.jpeg Essays - Notes on Revisiting My Boarding School 19: Although I write here with some gratitude for my own experience at Felsted School, I heartily recommend Alex Renton’s marvellously readable “Stiff Upper Lip - Secrets, Crimes, and the Schooling of a Ruling Class” (2017). Felsted was largely free in my day of the worst aspects of the boarding-school life Renton describes, but I nonetheless recognise much of the sociology he charts so well. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631324312016-Y9VCKHPU2893TYM8K5KY/IMG_4463.jpeg Essays - Notes on Revisiting My Boarding School 20: The crest (as in a shield and/or coat of arms) and motto of Felsted School since 1564; the tag #Felsted Family is a startlingly twentyfirst-century addition to an institution that felt like family to few of us in the twentieth century, though often working on effective harmony with our own families. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5d65caa9-648c-4e20-b302-41c75f6c92f7/C24B6C40-14B0-4577-94B2-50006F606C36.jpeg Essays - Notes on Revisiting My Boarding School - 21. You are invited to script the reactions of Richard Rich and Oliver Cromwell on seeing this Instagram post by Felsted School. https://www.alastairmacaulay.com/all-essays/yeprq6687xp0w7h4sz55rljzr3xyei monthly 0.5 2021-09-07 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631043091609-VD0FXODJLIYVG59BKIZW/IMG_3749.jpeg Essays - The actor Jean-Paul Belmondo and the ballerina Fanny Cerrito: are they related? 1: Fanny Cerrito in the renowned pas de l’ombre (Shadow Dance) in Jules Perrot’s Ondine (1843) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631043158302-8GR4NQCIO3CRCG1NBOM9/IMG_3748.jpeg Essays - The actor Jean-Paul Belmondo and the ballerina Fanny Cerrito: are they related? 2: Jean-Paul Belmondo (1933-2021). Was he descended from Fanny Cerrito? https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631046921752-PEHDB2AJSAM1IBIBFTJ3/IMG_3758.jpeg Essays - The actor Jean-Paul Belmondo and the ballerina Fanny Cerrito: are they related? https://www.alastairmacaulay.com/all-essays/iib4oru95ghwjibwr7p745hq9p7xaz monthly 0.5 2021-09-07 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631021836999-OA2574J8D1X8K5XYWOXP/IMG_3691.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 1: In this 1934 photograph of the Vic-Wells production of The Nutcracker - the first production of the complete ballet in the West - Julia Farron (Clara) is the child on the far right. Photographer unknown. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631022057050-Z22VP8GVL65RG9P3DOTS/IMG_3702.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 2: The young Julia Farron as the Milkmaid in Frederick Ashton’s Façade (1931), a tile created by Lydia Lopokova. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631022947013-LGRP3LQ47R5XG4XN8MCN/IMG_3719.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 3. Julia Farron as Alicia in Ninette de Valois’s The Haunted Ballroom (1934): she played the role in 1937. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631023511178-V8WW9Y46IJELI3XJ8ZNM/IMG_3721.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 4-6. Julia Farron, aged sixteen, in the fifth Prologue fairy variation (Violante, often called “the finger variation”) of The Sleeping Princess, as staged by Nicholas Sergueyev for the Vic-Wells Ballet. Due to a confusion, this fairy was wrongly named the Breadcrumb Fairy in this variation (the Breadcrumb dancer, Miettes qui tombent has the third variation). Because of Nadia Benois’s unfortunate headdress, Farron’s fairy became nicknamed the Hovis Fairy. The “broken” angle of her wrists is unusual for Vic-Wells style, and presumably was required by Sergueyev for this variation. Photograph: Gordon Anthony. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631023855743-ANR3WYBX4MK1D9V3RERS/IMG_3722.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 5: Julia Farron, aged sixteen, as the fifth Prologue fairy in Nicholas Sergueyev’s 1939 production of The Sleeping Princess. Photograph by Gordon Anthony, with characteristic shadow effects. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631024118494-CDYMFYJSQR82RR3IMCPL/IMG_3724.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 6: Julia Farron as the wrongly named Breadcrumb Fairy in the Prologue of The Sleeping Princess, 1939. Photograph: Gordon Anthony. Anthony is not often good at catching dance details, but the physicality here is remarkable. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631024562807-CN73VMHYQYWNTO72GVKQ/IMG_3718.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 7: Julia Farron, aged sixteen, as the Sapphire Fairy in the 1939 Vic-Wells production of The Sleeping Princess (Marius Petipa’s The Sleeping Beauty, 1890). Although Tchaikovsky wrote a remarkable variation in 5/4 time for the Sapphire Fairy at Petipa’s request, it was never choreographed until 1968. Instead the Jewel Fairies’ pas de quatre was arranged with a solo variation for the Diamond Fairy, and the music for the Silver Fairy’s variation danced by the other three - Silver, Sapphire, and Gold Fairy. Photograph: Gordon Anthony. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631024914653-G41FU28172WKQ0T3HCIC/IMG_3704.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 8: Julia Farron, centre, as the Sapphire Fairy, between Jill Gregory (Gold Fairy) and Pauline Garnett (Silver Fairy) in The Sleeping Princess, 1939. Photograph by Gordon Anthony. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631025078617-6V4RXWMJDBIK1D7AWTTQ/IMG_3720.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 9: Julia Farron, aged sixteen, in her first important created role, Psyche in Frederick Ashton’s one-act Cupid and Psyche, to a commissioned score by Lord Berners and with scenery and costumes by Francis Rose. The first night was a fiasco, booed by the audience; there were only four performances. She went on to create many more roles, but most of them were supporting ones. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631025344175-3QSJIVPCLPUUL4UZUOKQ/IMG_3725.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 10: Julia Farron as Columbine in Mikhail Fokine’s Carnaval (1910), first danced by the Vic-Wells Ballet in 1933. Farron danced four performances of this role between 1939 and 1940. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631025541075-6ITDDU4YJXEYY321KG5O/IMG_3699.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 11-13: Julia Farron as Mademoiselle Theodore in Ninette de Valois’s comic ballet about eighteenth-century theatrical fare in London, The Prospect Before Us (1940). (In 1789, Théodore created the role of Lise in the original production of La Fille mal gardée, choreographed by her husband Jean Dauberval.) De Valois had created the role for the older Pamela May, but May’s career was interrupted by wartime childbirth and widowhood. Between 1940 and 1945, Farron danced the role forty-five times. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631025974395-12O060MGF1LGWKFFX6UJ/IMG_3701.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 12: This image of Farron as Mademoiselle Theodore in de Valois’s The Prospect Before Us (1940) was reproduced on many postcards. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631026093667-SHUPZJFQFAZGPFQXHFJI/IMG_3698.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 13: Julia Farron as Mademoiselle Theodore in de Valois’s The Prospect Before Us (1940). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631026295000-XF4HNA9XJ8HA6ENO50LA/IMG_3697.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 14: A celebrated photograph of the 1946 opening night of The Sleeping Beauty - the reopening of the Royal Opera House, Covent Garden - with the royal family in the royal box watching the Prologue. Julia Farron and David Davenport are Queen and King on their thrones. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631026974406-JFKDLDP5GW3R62RCCZ2G/IMG_3733.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 14: Julia Farron (the Queen) in the 1946 production of The Sleeping Beauty, probably addressing Carabosse in the Prologue. Farron played the role innumerable times. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631026886720-6RMIEUGZ7K05K0KUC9IX/IMG_3732.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 15: Julia Farron and David Davenport in the 1946 production of The Sleeping Beauty, probably in Act Three. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631027201802-9WAUXROB6H9P4ZC4F6DV/IMG_3731.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 16: Leslie Edwards (Catalabutte), Julia Farron (the Queen), and David Davenport (the King) at the start of Act Three of the 1946 production of The Sleeping Beauty. The designs were by Oliver Messel; the production, supervised by Ninette de Valois and periodically adjusted, stayed in Covent Garden repertory until 1967 and in the Royal touring company repertory until 1970. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631028311339-STF8E6AWXZENBAWJQ2T9/IMG_3635.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 17-18: Two photographs taken by Henry Danton from the wings of David Davenport and Julia Farron as King and Queen in The Sleeping Beauty. Danton, now a hundred and two years old, recently rediscovered these and other photos he took - against company rules. Since he was a fairy cavalier in the Prologue and one of the four suitor princes in Act One, it’s fun to imagine him handling his camera in the wings in between appearances onstage. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631028544637-XV5ZTVVMPW8NCHACJMY6/IMG_3636.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 18: Julia Farron as the Queen in a 1946 performance of The Sleeping Beauty at Covent Garden, photographed from the wings by her colleague Henry Danton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631028682956-1EMUXAFXQDD49P3I1A9S/IMG_3706.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 19. The first role in The Sleeping Beauty danced by Julia Farron at Covent Garden after her long 1947 run of performances as the Queen was as one of Florestan’s two sisters in the Ashton-Petipa rearrangement of the Act Three Jewel divertissement. Decades later, thanks to Zoë Anderson, I bought this biscuit tin from an eBay seller in Alberta, Canada. I gave it to Julia, who laughed in recognition: “that was the first role I danced after descending the throne!” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631029240866-AYPR55U1A8BLVJTCA3DO/IMG_3723.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 20: Julia Farron, Pauline Clayden (the Suicide), and Leslie Edwards (a Beggar) in Miracle in the Gorbals, choreographed by Robert (“Bobby”) Helpmann in 1944 to a commissioned score by Arthur Bliss with designs by Edward Burra. “Half of what I learnt about performing onstage, I learnt from Bobby”, Farron often said. Farron and Clayden had met as children at a performing arts school. Clayden joined the Sadler’s Wells Ballet in 1942, leaving during the 1950s after dancing a number of the roles created by Ashton for Fonteyn. She and Farron remained lifelong friends; Farron knew her as “Claudie”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631029632789-4C8X3LNMOWCKZC1BITSG/IMG_3709.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 21: When the company moved to Covent Garden in 1946, Farron graduated to the role of the Prostitute in Gorbals, a role created by Celia Français, who had left the company. Farron made an immense impression on the Covent Garden audience in this role: the Prostitute, converted to belief by the Christ-like Stranger, returns to the stage with transformed body language. Although the ballet met no favour when the company took it to New York in 1949, it was performed at Covent Garden until 1958. Farron played this role forty-six times. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631030102513-ZUAQ286MA8ML7UHPGOWC/IMG_3727.png Essays - Julia Farron (1922-2019), and her place in ballet history 22: Farron as the Betrayed Girl in Ninette de Valois’s ballet The Rake’s Progress. She was the role’s main interpreter between 1944 to 1959, playing it forty-nine times. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631030389334-FP5QFD65SFUXRM57E4VP/IMG_3726.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 23: Farron as the Queen in Helpmann’s Hamlet, a one-act psychodrama set to Tchaikovsky’s Hamlet overture. This was another Helpmann role created on Celia Franca that Farron inherited at Covent Garden, playing it thirty times between 1946 to 1958. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631030647135-KDFUFODKRI34T1JU4LNC/IMG_3729.png Essays - Julia Farron (1922-2019), and her place in ballet history 24: Farron was a new member of the Vic-Wells Ballet when it danced for a week in Paris in 1937, presenting the world premiere of Ninette de Valois’s Checkmate. (Did she dance one of the pawns?) In due course, she danced the Red Queen (seen here) thirty-two times between 1947 and 1953, and the Black Queen nine times between 1951 and 1954. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631031011619-TALWHD3OQ72S77A9UW1K/IMG_3712.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 25: Frederick Ashton immediately double-cast Daphnis and Chloë when it was new in 1951 - I’d rather its female roles. Farron’s friend Pauline Clayden danced Chloë often up to 1956, when she left the company; Ashton told her that, thanks to her, it was the one ballet one which he could bear not to watch Fonteyn. He had cast Violetta Elvin as the seductress Lykanion, but cast Farron to play it opposite Clayden. (Daphnis was usually Michael Somes, with either cast.) When Elvin left the company in 1956, Farron became its chief interpreter until 1959. Twenty years later, her former student Genesia Rosato played the role. Farron gave her a bit of business she had performed just before leaving the stage after seducing Daphnis: pausing on point, she bit the knuckle of her finger as if in secret triumph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631031986940-R6LMMFJ6GK6XVA5X8APR/IMG_3708.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 26: In 1952, Ashton created the three-act ballet Sylvia, casting Farron as the angry goddess Diana, who appears only in Act Three but with rage that threatens to unbalance the story. This photo by Fonteyn’s brother Felix Fonteyn shows Farron as Diana at the top of the steps to her temple. Margot Fonteyn kneels in supplication to Diana, right; her two male admirers, John Hart (Orion) and Michael Somes (Aminta), are on either side. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631032491651-LAE4WMF2HFRVQ04Z096S/IMG_3730.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 27: Three months after creating the role of Diana, Farron created another for Ashton, the most acclaimed part he ever made for her: the Neapolitan Dance in Swan Lake. The dance is a presto duet: Farron and Alexander Grant, both favourite dancers of Ashton’s, danced in extreme proximity to each other and at top speed. It was a sensation from its premiere onward. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631033578070-ZC3T0R7S6VOGLHO2EXWT/IMG_3713.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 28: In 1957, Farron created a three-act role, the anti-heroine Belle Épine in The Prince of the Pagodas, choreographed by John Cranko to a commissioned score by Benjamin Britten: she danced it twenty-three times. Although this production only lasted four seasons, its memory for many was in no way effaced by Kenneth MacMillan’s 1989 re-telling of the same score. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631034067471-QDLQF3X0HSERAP1ZVW90/IMG_3710.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 29: Leslie Edwards as the dying Oedipus and Julia Farron as Jocasta in John Cranko’s Antigone (1959). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631034735335-A7WPQZ3C61F9X5BP2NMK/IMG_3687.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 30: Rowena Jackson (left), Nadia Nerina (centre), and Julia Farron (right) before filming a 1958 account of Les Sylphides in Hammersmith Town Hall. The television director was their old ballet colleague Margaret Dale, with whom Farron had been friends since the 1930s and with whom she remained friends into the twenty-first century https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631035569886-8E2MP14QJR4J3M548HOO/IMG_3747.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 31: Julia Farron rehearsing the Prelude in Les Sylphides at the Hammersmith Town Hall in front of students, prior to filming in 1958. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631035678881-JC3JPFGRZZPFETEV3K5X/IMG_3716.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 32: Julia Farron as Lady Capulet in Kenneth MacMillan’s 1965 production, with Rudolf Nureyev (Romeo) kneeling at her feet after having killed her kinsman Tybalt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631035723278-N933DO7FD1ZJ73Z3KEIE/IMG_3715.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 33: Lady Capulet rejects the entreaties of the kneeling Romeo: Julia Farron (right) with Anthony Dowell (left). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631035808698-DRJRBM784P1ZD6JAQQPI/IMG_3680.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 34: Julia Farron (left) speaking with the choreographer Mary Skeaping at the Royal Academy of Dance. Photo: G.B.L. Wilson. Much later, Farron became Director of the Royal Academy of Dance between 1983 and 1989. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1631035951182-VCREP4Z61GBWRN8V4JJ0/IMG_3717.jpeg Essays - Julia Farron (1922-2019), and her place in ballet history 35: Julia Farron Rodrigues in retirement. https://www.alastairmacaulay.com/all-essays/gcvza6zvtsqszl9oizvc7sfm8hr94b monthly 0.5 2021-09-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630964254684-DH3LZ7BO4P7WZ7T8A5V5/IMG_3665.jpeg Essays - On the eightieth birthday of Monica Mason https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630964273516-ZAIRHMKJ9QRNQ6C2FRI4/IMG_3665.jpeg Essays - On the eightieth birthday of Monica Mason https://www.alastairmacaulay.com/all-essays/cgr22ujrbqz3bcwygw0brwqpor4qqm monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630772226670-YBVW2WOIECU1R4UD4JXZ/IMG_2790.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 1. Merce Cunningham, Nocturnes, 1956: 1960s photograph by Robert Rutledge. Carolyn Brown is supported and suspended by William Davis and Steve Paxton. Shareen Blair, behind, holds an arabesque. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630772357663-0BWUB0RBT4GH7ZUF0MS0/IMG_2792.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 2: Merce Cunningham, Nocturnes, 1956: original cast photograph by John Lindquist. Viola Farber; Carolyn Brown. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630772478441-4WFNPBDZU42RF9TTTJY2/IMG_2793.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 3: Merce Cunningham, Nocturnes, 1956: original cast photograph by Louis A. Stevenson, Jr.. Viola Farber sits on Bruce King, while Carolyn Brown balances, right. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630773066990-R0A27WBEB6CDRLTNFGXE/IMG_2795.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 - 4:Merce Cunningham, Nocturnes, 1956: original cast photograph by Louis A. Stevenson, Jr.. Left: Viola Farber and Merce Cunningham. Right: William Davis, Carolyn Brown, Remy Charlip, Marianne Preger 4: Merce Cunningham, Nocturnes, 1956: original cast photograph by Louis A. Stevenson, Jr.. Viola Farber and Merce Cunningham, left; Bruce King, Carolyn Brown, Remy Charlip, Marianne Preger https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630773178857-0A3VY6Y5V72SN253IJ2R/IMG_2796.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 5: Merce Cunningham, Nocturnes, 1956: original cast photograph by Louis A. Stevenson, Jr.. Viola Farber, William Davis, Remy Charlip, Carolyn Brown, Merce Cunningham. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630773260054-7M0K5ZIZ0494LO21ZUHH/IMG_2797.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 6: Merce Cunningham, Nocturnes, 1956: original cast photograph by Louis A. Stevenson, Jr.. Merce Cunningham, Viola Farber. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630773309445-V12YBNDO5TZGLCIDZOJM/IMG_2798.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 7: Merce Cunningham, Nocturnes, 1956: original cast photograph by Louis A. Stevenson, Jr.. Merce Cunningham, Viola Farber. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630773351953-SXGX9LB7QVIGHD8JJPGP/IMG_2799.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 8: Merce Cunningham, Nocturnes, 1956: original cast photograph by Oscar Bailey Merce Cunningham, Viola Farber. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630773403184-A4GC3G4N3BKAUS73PLEE/IMG_2800.jpeg Essays - Cunningham, Rauschenberg, Satie: “Nocturnes”, 1956-1968 9: John Launois’s photographic portrait of Merce Cunningham in Robert Rauschenberg’s makeup for Nocturnes (1956), used as a front cover for the Saturday Evening Post: “Who Is This Man?” https://www.alastairmacaulay.com/all-essays/oyg6ku6ehrut9zwxykms59by2e7iwn monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630745821288-6G0XH6NDLLAWIFHI8NIQ/IMG_2656.jpeg Essays - The ending of Frederick Ashton’s “Symphonic Variations”: a 1946 photograph. 1: 1946 photograph by Roger Wood of Frederick Ashton’s “Symphonic Variations”: the concluding image. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630745887957-J79VGEW5S3GL5G5ZHRRI/IMG_2658.jpeg Essays - The ending of Frederick Ashton’s “Symphonic Variations”: a 1946 photograph. 2: Detail of photograph 1, showing that suspended final gesture by Michael Somes at the end of an exhausting role. Moira Shearer is on the left in the foreground. https://www.alastairmacaulay.com/all-essays/6znufaer12b9dflhsxi9wy344d35ff monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630704691334-ATULILDWX380CUUYITQJ/IMG_2660.jpeg Essays - A Tribute to Margot Fonteyn, 23 May, 1979 - the programme 1: Cover page of the programme for “A Tribute to Margot Fonteyn”, 23 May, 1979 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630704745509-RYA7X68EDG6UCBDKW199/IMG_2661.jpeg Essays - A Tribute to Margot Fonteyn, 23 May, 1979 - the programme 2: Page 2 of the Fonteyn tribute programme. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630704852397-CBMYRK4LMUFF5OPXL5XO/IMG_2662.jpeg Essays - A Tribute to Margot Fonteyn, 23 May, 1979 - the programme 3: Page 3 of the Fonteyn Tribute programme https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630704903064-0MECY1XX5SU2VW95KH0A/IMG_2664.jpeg Essays - A Tribute to Margot Fonteyn, 23 May, 1979 - the programme 4: Page 3 of the Fonteyn Tribute programme with the fold that named perhaps all the ballets in which Fonteyn had danced with the Royal Ballet over forty-five years. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630705011085-4YW2SM2YGBTKCSQ0ZI9L/IMG_2665.jpeg Essays - A Tribute to Margot Fonteyn, 23 May, 1979 - the programme 5: Back page of the Fonteyn Tribute programme https://www.alastairmacaulay.com/all-essays/fpn9uvmo4owrosf7df0nm6cxsgq4kt monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280581227-P852YHKB4G35WUPYHJX6/IMG_1477.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 1: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280727179-8PMHVP074365IW6GNROI/IMG_1478.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 2: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280818851-W9UCC2L0GK70HHSP9X0I/IMG_1479.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 3: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280845370-Q354H0EJNZPDXMKWOM90/IMG_1480.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 4: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280869791-VJ3YARE7UE9P67IQKGKX/IMG_1484.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 5: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280893159-PA49R0GR129ZWLV80VRV/IMG_1485.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 6: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280917735-CUMVTLHKJ3P4LKIFS82T/IMG_1486.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 7: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280947971-ZQ1CDD5580M2YJN8I3XE/IMG_1487.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 8: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630280975107-Y5TO1YWNBPHCKWCM8KOR/IMG_1488.jpeg Essays - Frederick Ashton’s lost “Picnic at Tintagel” (New York City Ballet, 1952) 9: Photograph by Fred (Frederick) Melville of Diana Gould and Jacques d’Amboise in Frederick Ashton’s “Picnic at Tintagel” (New York City Ballet, 1952). https://www.alastairmacaulay.com/all-essays/y8bkwvfmtjc9wwjws9qfnm21n1he50 monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630236875168-UJYYG4GECW53X3QP7TXY/IMG_1035.jpeg Essays - “Oleanna” revisited; ourselves revisited 1. The set for the Arts Theatre Oleanna while the audience is still arriving. The designs are by Alex Eales; lighting by Oliver Fenwick. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630237272037-X3Y9HFDCLJAHH067Q4M1/IMG_1221.jpeg Essays - “Oleanna” revisited; ourselves revisited 2: Main publicity poster for the 2021 Oleanna. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630237741566-6VYCDGK5U5CXCKQB12MC/IMG_1440.jpeg Essays - “Oleanna” revisited; ourselves revisited 3: Lia Williams and David Suchet in Harold Pinter’s 1993 Royal Court production of the British premiere of Oleanna. Photo: Tristram Kenton, Guardian. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630237847355-VDQNZMP0LDXW8Z92GZY1/IMG_1441.jpeg Essays - “Oleanna” revisited; ourselves revisited 4: Lia Williams and David Suchet in Harold Pinter’s 1993 Royal Court production of the British premiere of Oleanna. Photo: Tristram Kenton, Guardian. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630237919180-I27OKVN4M450BTUJRITI/IMG_1433.jpeg Essays - “Oleanna” revisited; ourselves revisited 5: Jonathan Slinger and Rosie Sheahy in Lucy Bailey’s 2021 production of Oleanna, at the Arts Theatre till October 23. Photo: Nobby Clark. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630238078939-MXG7869AA5QZ4G4KE7BO/IMG_1434.jpeg Essays - “Oleanna” revisited; ourselves revisited 6: Rosie Sheahy and Jonathan Slinger in Lucy Bailey’s 2021 production of Oleanna, at the Arts Theatre till October 23. Photo: Nobby Clark. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630238244009-JABU4IVLHDIWCKBJMMAB/IMG_1437.jpeg Essays - “Oleanna” revisited; ourselves revisited 7: Jonathan Slinger and Rosie Sheahy in Lucy Bailey’s 2021 production of Oleanna, at the Arts Theatre till October 23. Photo: Nobby Clark. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630238352529-RFABFPUM1J41ZLDNMDZL/IMG_1438.jpeg Essays - “Oleanna” revisited; ourselves revisited 8: Jonathan Slinger and Rosie Sheahy in Lucy Bailey’s 2021 production of Oleanna, at the Arts Theatre till October 23. Photo: Nobby Clark. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1630241404189-AIA70FLGJH7KDCDPCOD3/IMG_1443.jpeg Essays - “Oleanna” revisited; ourselves revisited 9: Lia Williams and David Suchet in Harold Pinter’s 1993 Royal Court production of the British premiere of David Mamet’s Oleanna. https://www.alastairmacaulay.com/all-essays/390efgldukvysas6h61on72lf0tf7p monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629237800028-BXT5YPI68V9BIYMOBCAV/IMG_7635.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 1: The teenage Margot Fonteyn in “Giselle” Act One in 1937. Photograph: Gordon Anthony. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629237896958-DR02G0DJPEU7WMSDZQUR/IMG_7636.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 2: Thirty years later, Margot Fonteyn in “Giselle” Act Two, at the Paris Opéra. Photo: R. Faligant. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629237984987-PCPI0K8SJ1IXPS9IB58W/IMG_7637.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 3: Margot Fonteyn as Odette in “Swan Lake”, with her chief partner of the 1950s, Michael Somes. Photo: Nugent Studios. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629238070702-A8C1T9GQIK8Y3RUQY3D2/IMG_7638.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 4: Margot Fonteyn and Robert Helpmann as Odile and Siegfried in “Swan Lake”, 1943. Photo: Russell Sedgwick. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629238149870-7145I3B9F0TXA7KFKQX8/IMG_7639.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 5: Margot Fonteyn as Aurora in “The Sleeping Beauty”, 1946. Photograph: Gordon Anthony. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629238247438-KJVGFQBU8JWZTJJWNHKC/IMG_7640.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 6: Margot Fonteyn, at age fifty, in Keith Money’s 1969 film of Act One of “The Sleeping Beauty”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629238550300-GWVQFWYT6MGSW7355WP9/IMG_7708.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 7: Margot Fonteyn studying with Vera Volkova. Photo: Felix Fonteyn. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629238634133-UZJVNQKI86BSFY5ZNNUX/IMG_7709.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 8: Margot Fonteyn studying with Vera Volkova. Photo: Felix Fonteyn. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629239094154-O97H2X75QK3SS52A5XYO/IMG_7710.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 9: Frederick Ashton’s “Symphonic Variations”, when new in 1946. Left to right: Moira Shearer, Henry Danton, Margot Fonteyn, Michael Somes, Pamela May. Photo: Baron. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629239189615-9LZ2ZN6H925AEJEIGOER/IMG_7712.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 10: Fonteyn in a famous passage of motionless repose in Ashton’s “Symphonic Variations”, in a 1963 performance. Photo: Houston Rogers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629239283505-FJ3302T5438FNFNHEO6O/IMG_7713.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 11: Margot Fonteyn and Royes Fernandes rehearsing Ashton’s “Symphonic Variations” (1946) in the Herod Atticus Theatre, Athens, Greece, in 1963. Photo: Keith Money. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629239945290-VT3YHNQJTYYJCNPMZFOB/IMG_7714.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 12: Margot Fonteyn and Royes Fernandes rehearsing Ashton’s “Symphonic Variations” (1946) in the Herod Atticus Theatre, Athens, Greece, in 1963. Photo: Keith Money. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629240014985-PUY3Y21OLVNIHH724SY6/IMG_7715.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 13: Detail of Margot Fonteyn’s hand, in a 1963 rehearsal of Ashton’s “Symphonic Variations” (1946) in the Herod Atticus Theatre, Athens, Greece. Photo: Keith Money. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629240102495-UNLLDFE4IO8QHEVAQ54L/IMG_7716.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 14: Frederick Ashton with Margot Fonteyn in 1949: she is dressed as Cinderella going to the ball in Act Two of his three-act 1948 ballet. Photo: Felix Fonteyn. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629240212364-M7UCIOISKWT4DQHD1TBR/IMG_7717.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 15: Margot Fonteyn (Chloë), lifted by David Blair (Daphnis) in an early-1960s performance of Frederick Ashton’s “Daphnis and Chloë” (1951). Photo: Houston Rogers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629240493186-682H35Z12AZABY1QOPAZ/IMG_7731.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 16: Margot Fonteyn, as the female Tiresias, with John Field, as her lover, in Frederick Ashton’s “Tiresias” (1951). Photo: Roger Wood. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629240626793-M2PSJGZW0K5B25QBHYJ1/IMG_7732.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 17: Margot Fonteyn, newly appointed president of the Royal Academy of Dancing, with her predecessor in the post, Adeline Genée, in 1954. Photo: John Bignall. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629240760512-G24D1FWBZ6GEG7TMOYIE/IMG_7733.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 18: Margot Fonteyn, President of the Royal Academy of Dancing, with Academy students in 1961. Photo: P.A.Reuter. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629240919793-ED53GIABCHABJM0H5W1B/IMG_7734.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 19: Michael Somes and Margot Fonteyn in Frederick Ashton’s “La Péri”. Photograph: Houston Rogers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629241012895-OONJHEJ74LQA9JEZ2962/IMG_7735.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 20: Margot Fonteyn as the title character of Frederick Ashton’s “Ondine” (1958). Ondine here dances with her shadow in her first scene in Act One. Photo: Houston Rogers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629241183140-WUX71C7WCSVZ30WZ8G2Y/IMG_7736.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 21: Margot Fonteyn as Ondine in Frederick Ashton’s ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629241259051-A6FATTQ9NH1I5BRT6JT0/IMG_7737.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 22: Margot Fonteyn and Rudolf Nureyev in Nureyev’s 1963 Royal Ballet production of the Shades scene of Marius Petipa’s “La Bayadère” (1877). Photo: Donald Southern. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629241522146-DOO3EH2NRF8BO8X0R75J/IMG_7738.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 23: Margot Fonteyn as Raymonda in Act One of Rudolf Nureyev’s production of Marius Petipa’s 1898 ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629241641044-K2X54WZCAY7Q03Z9VJGG/IMG_7739.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 24: Margot Fonteyn, at age fifty, with Rudolf Nureyev after a 1969 performance of the “Le Corsaire” pas de deux given at her New York Metropolitan Opera House gala on behalf of the Royal Academy of Dancing. Photo courtesy of Joy Brown. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629241818328-OVL2C0UY6YMVWILJXOYN/IMG_7740.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 25: Margot Fonteyn and David Wall after their first appearance together in “Swan Lake” in 1966. Photograph: Jennie Walton. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629241924929-MZ98YW16MSMVAADTFLZD/IMG_7741.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 26: Margot Fonteyn and David Wall in a 1972 performance of Frederick Ashton’s “Birthday Offering” (1956). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629242082580-T7HDJMRVTJMBJF258J64/IMG_7762.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 27: Cover of Margot Fonteyn’s second book, “A Dancer’s World” (1978, W.H.Allen). Photo by Felix Fonteyn of Margot Fonteyn directing Monica Mason and David Wall. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629242213412-1HT9Q651S3H17ZFSR6C9/IMG_7764.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 28: Bows after Margot Fonteyn’s sixtieth birthday performance, Covent Garden, May 1979. Fonteyn, dressed as the Debutante in Frederick Ashton’s “Façade” (1931), is with Michael Somes and David Wall, two of the most important partners of her long career. Photo: Leslie Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629242462738-EI0A57B60FZOFJMTYQ8C/IMG_7765.jpeg Essays - Celebrating Margot Fonteyn via Zoom - Thursday 19 August 16.00-17.15 29: Margot Fonteyn giving her flowers to Ninette de Valois after “Façade” at her sixtieth birthday performance in May 1979. Also visible , left to right: Derek Rencher, Michael Somes, Wayne Eagling, Genesia Rosato, Michael Coleman, Robert Helpmann, Jennifer Penney, David Wall. Photograph: Leslie Spatt. https://www.alastairmacaulay.com/all-essays/plpfu3r34vfiuthrogndyoi39d6jfd monthly 0.5 2024-08-13 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629373812815-4EE3U5Q07TTX98W7T4YI/IMG_9076.jpeg Essays - Five Conversations with Suzanne Farrell https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629373869443-9DDHIJL4BSYYM062QV2K/IMG_9075.jpeg Essays - Five Conversations with Suzanne Farrell https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629373970260-V4L7YUZSLGKZX24SOFBA/IMG_9077.jpeg Essays - Five Conversations with Suzanne Farrell https://www.alastairmacaulay.com/all-essays/w101cc8fi05gqesnn9icixrdn9eyt6 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629038918603-ADYGSU1BJ4QX7M5AYNYM/IMG_7576.jpeg Essays - Notes on Frederick Ashton’s choreographic anticipations of George Balanchine’s “Agon” 1: Margot Fonteyn as the female Tiresias with John Field in Frederick Ashton’s Greek ballet “Tiresias” (1951). The pas de deux was so strikingly sexual that Fonteyn’s husband stopped her from dancing it, not wanting the public to know that side of her. Ashton then gave the role to Violetta Elvin, whose new fiancé soon said the same. (This recalls the sopranos Kirsten Flagstad and Lotte Lehmann, who only once appeared onstage together. Flagstad is said to have said of Lehmann “She behaved onstage as a married woman should only behave in private with her husband.”) After Elvin’s withdrawal, Ashton withdrew “Tiresias” from repertory. Photograph: Roger Wood. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629039201691-GHYW3KGQCCV4IC57SJFG/IMG_7585.jpeg Essays - Notes on Frederick Ashton’s choreographic anticipations of George Balanchine’s “Agon” 2: Arthur Mitchell supporting Diana Adams in the pas de deux of George Balanchine’s “Agon” (1957), in a 1960 performance for Montréal TV. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629039294102-OXTP4Q0H6PS3NGV258MK/IMG_7586.jpeg Essays - Notes on Frederick Ashton’s choreographic anticipations of George Balanchine’s “Agon” 3: Michael Somes supporting Margot Fonteyn in Frederick Ashton’s “La Péri” (1956). This extended pas de deux (Ashton had choreographed an earlier version for himself and Alicia Markova in 1931) had its New York premiere in September 1957. Photograph: Houston Rogers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1629039479047-CFYSDUYLN35ESQWHPVRL/IMG_7587.jpeg Essays - Notes on Frederick Ashton’s choreographic anticipations of George Balanchine’s “Agon” 4: Arthur Mitchell, on the floor, supporting Diana Adams in the pas de deux of George Balanchine’s “Agon”, which had its premiere in December 1957. (This photo is from the 1960 Montréal TV performance.) Whereas Fonteyn’s leg and arm make a single penchée line, the contrast between Adams’s right arm and the rest of her line is striking - whereas her right arm and Mitchell’s left one make a single sweep. https://www.alastairmacaulay.com/all-essays/qc5ktsfstq43usv1z5qud2kdbni2ht monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696929718-ZC9TNDCAXELJ0XV5D6OF/IMG_7354.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 1: Harald Scharff, in 1864, as Alonzo in August Bournonville’s two-act The Toreador (1840). Flemming Flindt choreographed a new version of this ballet, “after Bournonville”, in 1978 - although I remember Natalia Makarova and Rudolf Nureyev dancing its Bournonville-Flindt pas de deux in London in 1977. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696879835-Y83YYR2MGTLNKFKISE3L/IMG_7357.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 2: Harald Scharff, in 1860, as Gennaro in August Bournonville’s three-act Napoli (1842). Gennaro, the leading role of this immensely successful ballet, was one Bournonville had created for himself. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628695789341-KLWT72HW7W6WFI163R9T/IMG_7360.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 3: Harald Scharff, in 1860, as Gennaro in Act One of August Bournonville’s three-act Napoli (1842). Bournonville modelled the fisherman Gennaro’s costume and role on that of Masaniello in Auber’s opera La Muette de Portici. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696093511-K2HH61IJ5DJ60N2NL1GC/IMG_7365.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 4: Harald Scharff as Gregor in Act Two of August Bournonville’s three-act In the Carpathians (1857). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696141370-2RZOBKK2ZO4CJECRJ7FZ/IMG_7370.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 5: Harald Scharff https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696182638-H8LX0OQVPQCUOLTYDC8S/IMG_7378.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 6: Harald Scharff as Wilhelm in Act One of August Bournonville’s Far From Denmark (1860). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696225448-KFUAIDZBHBMYI75M0FO2/IMG_7384.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 7: Harald Scharff as Wilhelm in Act Two of August Bournonville’s Far From Denmark (1860). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696263816-G37IC5DA01M8ACI6KT7Z/IMG_7388.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 8: Harald Scharff as Helge in Act One of August Bournonville’s four-act The Valkyrie (1861). Bournonville turned to Scandinavian mythology at a time close to Richard Wagner, who had composed his opera The Valkyrie (Die Walküre) in 1856 but did not stage it until 1870. Bournonville’s music was by Johan Peter Emilius Hartmann, one of Denmark’s foremost composers who had composed Act Two of Bournonville’s three-act A Folk Tale (1854). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628696305428-CB6NSMZUXND7XI5JV64G/IMG_7392.jpeg Essays - Harald Scharff, the Bournonville male dreamboat to whom Hans Christian Andersen lost his heart 9: Harald Scharff as Helge in Act Three of August Bournonville’s four-act The Valkyrie (1861). https://www.alastairmacaulay.com/all-essays/amtb9pd4ptwus5dpdbt7j3q7vh8bcl monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628602707846-CJ7TPHEM4XWTSKVCRRI1/IMG_7328.jpeg Essays - Denmark’s first Balanchine Apollo, Peter Martins’s uncle, Leif Ørnberg 1: Leif Ørnberg (1904-1977). This photograph, reproduced in Peter Martins’s autobiography Far From Denmark (1982), possibly shows Ørnberg in August Bournonville’s ballet A Folk Tale (1854). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628602870595-RXN5IUVRBK0J2X9PB98I/IMG_7330.jpeg Essays - Denmark’s first Balanchine Apollo, Peter Martins’s uncle, Leif Ørnberg 2: Else Højgaard is Terpsichore, Margot Florenz Gerhard (later Margot Lander) is Calliope, Gertrud Iversen (later Gertrud Jensen) is Polyhymnia, with Leif Ørnberg as Apollo in George Balanchine’s 1931 Royal Danish Ballet production of his Apollo, Leader of the Muses (1928). Photograph: Huset Mydtskov. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628603088837-D7JR6ZOZ446QRYDUDTIG/IMG_7331.jpeg Essays - Denmark’s first Balanchine Apollo, Peter Martins’s uncle, Leif Ørnberg 3: The concluding image of George Balanchine’s 1931 Royal Danish Ballet production of his Apollo, Leader of the Muses, with Leif Ørnberg as Apollo. The tableau clarifies that Apollo alone is departing for Mount Olympus, with his father Zeus’s horse-drawn chariot ready to take him there, while the three muses pay him farewell. His mother Leto, unseen since the Prologue, falls back, into her handmaidens’ hands, in awe and loss as her son departs to join his father and the other Olympian gods. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628689452271-7D067GWD86EQ1WAX0ZAO/IMG_7397.jpeg Essays - Denmark’s first Balanchine Apollo, Peter Martins’s uncle, Leif Ørnberg 4. Elna Ørnberg and Leif Ørnberg. I’m grateful to Juan Bockamp for sharing this photograph. https://www.alastairmacaulay.com/all-essays/i59c9kyydo31fc4wu04otdu5z7irce monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628514931133-IWY6XP8FIKIBI1DY08DF/IMG_7208.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 1: Maria Tallchief and Nicholas Magallanes in George Balanchine’s Symphony in C. Photograph by George Platt Lynes. Cover image of the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628515071186-E3ZVF4RZC74JD0NYT7XK/IMG_7209.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 2: George Platt Lynes. Photograph by Cecil Beaton. This is the only photograph not by Lynes in New York City Ballet’S 1958 souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628515230268-8W382W4S64C7T91PWGRK/IMG_7211.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 3: George Balanchine, by George Platt Lynes. Lynes died in 1955, but the photographing is dated as 1956 by New York City Ballet’s 1958 souvenir program, which also gives 1956 as the year of Lynes’s death. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628515420400-QNJSQBFLORB3MDEU7YBW/IMG_7238.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 4: The introductory page of New York City Ballet’s 1958 souvenir program. Many details here are of interest: Lynes’s death is wrongly dated as 1956; George Balanchine, later named as Ballet Master, is here Artistic Director, with Lincoln Kirstein as Artistic Director; Jerome Robbins is titled Associate Artistic Director. Although Betty Cage is high up the list of New York City Ballet staff, as General Manager, she is not named here. Leon Barzin, the company’s founding Musical Director since 1948, however, is named here, but not elsewhere, perhaps because Robert Irving became the company’s Music Director in 1958. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628517256483-FBXABT9YPJSS45XS9YYL/IMG_7239.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 5: Child dance students and George Balanchine in the late 1940s; the little boy is Edward Villella. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628517383621-Y0560DTZEV9OUH5YGSW8/IMG_7240.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 6 George Balanchine, Francisco Moncion, and Tanaquil Le Clercq. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628517853283-4APEE8RCCVEBJ7Z1E7KX/IMG_7241.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 7: Column 1 of George Balanchine’s tribute to George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628517932682-21SPASUQTUU6D5UCRHY1/IMG_7242.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 8: Column 2 of George Balanchine’s tribute to George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628518000257-X8JA6DRC67G7M1F2UQKB/IMG_7243.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 9: Tributes to George Platt Lynes by Cecil Beaton and Edwin Denby (part 1). Denby’s words on Lynes have not been republished in any Denby anthology. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628518168242-SDF37OWATVANHMKDZMEY/IMG_7244.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 10: Part 2 of Edwin Denby’s tribute to George Platt Lynes; one by Christopher Isherwood; and Part 1 of Lincoln Kirstein’s. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628518435851-DLBRMP8G6UW1X28FOC8O/IMG_7245.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 11: Tributes to George Platt Lynes from Lincoln Kirstein (part 2), John Martin, Marianne Moore, and Edith Sitwell. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628518607973-RJWI28YWMQ1QBP4XQ39O/IMG_7248.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 12: Tributes to George Platt Lynes from Edith Sitwell (part 2), Osbert Sitwell, Pavel Tchelitchew (who had died in 1956 and whose name is mis-spelt), and Carl van Vechten. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628518754269-QO88MUN1BRHF54KBV62T/IMG_7252.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 13: Column 1 of Glenway Westcott’s tribute to George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628518842199-0954NUARNQR1YBZX6AN7/IMG_7253.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 14: Column 2 of Glenway Westcott’s tribute to George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628518923268-GWYNE4OGN3WR09HEKM4N/IMG_7254.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 15: Lew Christensen in the title role of George Balanchine’s Apollon Musagète (Apollo). Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. The implication is that Apollo is looking up to his father Zeus on Mount Olympus. Balanchine, who supervised all Lynes’s photographs of his work, coached all his Apollos to understand that the eye of Zeus is on Apollo throughout this ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628519347561-M73GPLGRXSEQTH9LY2N0/IMG_7261.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 16: George Balanchine’s Errante, with Kathryn Mullowney (left), Tamara Geva (centre), William Dollar (right). Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. Mullowney was the “Dark Angel” in George Balanchine’s original 1934 and 1935 productions of Serenade: Geva, Balanchine’s first wife, had preceded him to America, winning fame in her own right; Dollar was the male dancer Balanchine most admired of those who studied at the School of American Ballet in 1934-1935 and became a founder member of the American Ballet in 1935. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628520444862-OT80PMT09561DAKTARJW/IMG_7262.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 17: Lew Christensen as the Pump Attendant in his own Filling Station (1938), a ballet choreographed to a commissioned score by Virgil Thomson and a scenario by Lincoln Kirstein, with designs by Paul Cadmus. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628520488208-7TGCW7P6KT1F8YPL5AIT/IMG_7263.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 18: Jacques D’Amboise as the Pump Attendant in a 1950s revival of Lew Christensen’s Filling Station (1938). Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628520623967-JABKMY08P43YY5YSM3ZN/IMG_7265.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 19: Hugh Laing and Nora Kaye in New York City Ballet’s 1951 production of Antony Tudor’s Lilac Garden. Tudor had choreographed it as Jardin aux lilas in 1936 for Ballet Rambert in London, with Laing in the same role. In 1951, Tudor, Kaye, Laing, and Diana Adams (Laing’s wife) transferred from American Ballet Theatre to City Ballet. Tudor, Kaye, and Laing returned to Ballet Theatre in 1953; Adams remained with City Ballet for the rest of her stage career. Balanchine later used this decor for Lilac Garden in 1961 for his own Raymonda Variations. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628521219378-MQV6FRK7A4VAODN8B5YN/IMG_7266.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 20: The original cast of George Balanchine’s Concerto Barocco (1941). Marie-Jeanne and William Dollar (left) in the second movement; Lorna London and June Graham of the corps de ballet are on the right. The costumes are by Eugene Berman. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628521493418-RYDLEGBIL864NW6G3CYO/IMG_7277.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 21: George Balanchine’s Orpheus (1948), with Nicholas Magallanes (Orpheus) and Maria Tallchief (Eurydice). Designs by Isamu Noguchi. The ballet was originally produced for Ballet Society at New York City Center Theater; Morton Baum of City Center found it so revelatory that he invited Lincoln Kirstein and Balanchine to institute New York City Ballet, which presented it later that year in its opening program. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628521901366-XOFRJZARCMFO65VOFQNR/IMG_7279.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 22: George Balanchine’s original production of Firebird (1949), with designs by Marc Chagall. Maria Tallchief and Francisco Moncion as the Firebird and Ivan Tsarevich. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628522074622-EA8QB6LOADJKCPJVMH58/IMG_7280.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 23: Tanaquil Le Clercq and Jerome Robbins in the first movement of George Balanchine’s Bourrée Fatntasque (1949), which had its premiere only four days after Firebird. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628522245261-95KT1GSBFH0PGTVZ0OEC/IMG_7281.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 24: Nicholas Magallanes as the Poet of Frederick Ashton’s Illuminations (1950), with four of the pierrots who populate this ballet. Ashton created this for New York City Ballet. Designs are by Cecil Beaton. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628522419471-8TJ0QD99VGUOYQSVWR6T/IMG_7282.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 25: Janet Reed and Herbert Bliss, the original couple of George Balanchine’s Pas de Deux Romantique, which had its premiere four days after Ashton’s Illuminations. Costumes by Robert Stevenson; music was Weber’s Concertino for Clarinet and Orchestra. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628522770778-Z3DN15XMGC1HNKFC6291/IMG_7283.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 26: Todd Bolender in The Miraculous Mandarin (1951), his own creation for New York City Ballet. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628523025073-MD512GI7SSIPD3D9BDU2/IMG_7285.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 27: Melissa Hayden in George Balanchine’s Caracole (1952), the Mozart ballet parts of which Balanchine subsequently recycled for his enduring masterpiece Divertimento no 15 (1956). The designs for Caracole were by Christian Bérard. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628523294632-B82SE520EI4I2GXS39NI/IMG_7286.jpeg Essays - Tributes to George Platt Lynes (1907-1955) 28: Tanaquil Le Clercq in George Balanchine’s Western Symphony (1954), wearing a costume designed by Karinska. Le Clercq created the fourth-movement Western ballerina role. Photograph by George Platt Lynes. From the 1958 New York City Ballet souvenir program. https://www.alastairmacaulay.com/all-essays/u0gdzni8a5qgvnt6xj2699xo1ag38f monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628501867888-8COW9CXFHUCG4RMUFT6N/IMG_7191.jpeg Essays - Patricia Wilde, in George Balanchine’s “Swan Lake” (1951), photographed by George Platt Lynes Patricia Wilde, leading the pas de trois of George Balanchine’s Swan Lake (1951). Photograph: George Platt Lynes. https://www.alastairmacaulay.com/all-essays/p62rtvgrymvoh27ctb1ly1yl5mqy5b monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628201403975-E9K5N3T32Q50TODQB058/IMG_4756.jpeg Essays - Merce Cunningham showing a Martha Graham fall exercise: photographs by Barbara Morgan 1-4: Merce Cunningham demonstrating a Martha Graham fall exercise in 1942: photographs by Barbara Morgan. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628201539513-FBJA6BSOCGIZTC7DKQDZ/IMG_4765.jpeg Essays - Merce Cunningham showing a Martha Graham fall exercise: photographs by Barbara Morgan 2. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628201599624-K9KVIIK9TQ72EJZUSUCX/IMG_4758.jpeg Essays - Merce Cunningham showing a Martha Graham fall exercise: photographs by Barbara Morgan 3. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628201660421-OGEWPFOPX44436R19FXS/IMG_4763.jpeg Essays - Merce Cunningham showing a Martha Graham fall exercise: photographs by Barbara Morgan 4. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628201707718-MINWDDCG5H67PMR2NF27/IMG_4766.jpeg Essays - Merce Cunningham showing a Martha Graham fall exercise: photographs by Barbara Morgan 5. A page in the 1998 International Encyclopedia of Dance, edited by Selma-Jeanne Cohen (Oxford University Press). The entry on Modern Dance Technique is by Deborah Jowitt. https://www.alastairmacaulay.com/all-essays/dry6w74i5lw1ze3n9gjgd1vm8z2y2e monthly 0.5 2024-09-19 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628174706808-UFMCXAB6TZMNK8SP9E2E/IMG_6482.jpeg Essays - On Change in Balanchine: “Ballet Imperial” and “Tschaikovsky Piano Concerto no 2.” 1: The concluding tableau of George Balanchine’s “Ballet Imperial”, as staged by Balanchine for the Sadler’s Wells Ballet at Covent Garden in 1950, with new designs by Eugene Berman. There were eighteen curtain calls.) Margot Fonteyn is the ballerina, Beryl Grey (kneeling) the soloist. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1628174885850-2SSM49PS09HK63TUIU7L/IMG_6486.jpeg Essays - On Change in Balanchine: “Ballet Imperial” and “Tschaikovsky Piano Concerto no 2.” 2: The concluding tableau of “Tschaikovsky Piano Concerto no 2”, as danced by New York City Ballet in Paris in 2016. Sara Mearns is the ballerina, Lauren King (kneeling) the soloist. https://www.alastairmacaulay.com/all-essays/hq0ugta2qqp66qz1t8iabrlikjj5wf monthly 0.5 2022-02-26 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627987780436-0XR7DPUQGA951YZ8LP6Q/IMG_4161.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627987965949-LL6C3MCF4X72AFR2R4SK/IMG_6188.jpeg Essays - Balanchine in a Hollywood Crime Story 2: The opening of the “That Old Black Magic” number in Paramount’s “Star Spangled Rhythm” (1942). Johnny Johnston plays a soldier who literally dreams that the signed photograph he has of Vera Zorina beside his bed will come to life and that the signed word “Sincerely” will prove true. The number was choreographed by George Balanchine, then Zorina’s husband; Harold Arlen wrote “That Old Black Magic” specially for the film. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627988202562-9D5EZPMQ7Q3BZ56WS6XU/IMG_6189.jpeg Essays - Balanchine in a Hollywood Crime Story 3: As Johnston falls asleep, his voice sings the song. The number begins with Balanchine’s favourite choreographic device: a static tableau vivant before any movement. (Almost every Balanchine ballet except “Allegro Brillante” begins this way.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627988245692-0IXV3FPW8HZXHNCYSWGO/IMG_6190.jpeg Essays - Balanchine in a Hollywood Crime Story 4: Zorina’s right arm is the first part of her to move. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627988490297-9C2DDR3HJRQ57HWALFGL/IMG_6191.jpeg Essays - Balanchine in a Hollywood Crime Story 5. Zorina moves within the frame, behind her signature. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627988539683-3SR6P21NH7HP1LD4G42S/IMG_6192.jpeg Essays - Balanchine in a Hollywood Crime Story 6. Zorina moves further, still behind her signature. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627988579796-FKFWGIEAE8QCP67KNM6H/IMG_6193.jpeg Essays - Balanchine in a Hollywood Crime Story 7. Zorina, opening her arms to the camera as if in yearning, now suggests the framed and signed illusion cannot last. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627988719239-05P0S4W6735L50KQ607H/IMG_6194.jpeg Essays - Balanchine in a Hollywood Crime Story 8. And now the frame and signature vanish, with Zorina beckoning the camera/Johnston/us into her world. We may wonder why “That Old Black Magic” takes us to a white snowscape. The answer may be to do with Zorina herself, who was Norwegian. In the Rodgers-Hart musical “I Married An Angel”, the honeymoon travelogue lingered far longer in Norway than anywhere else. Balanchine may also have been thinking of Hans Christian Andersen’s Ice Maiden, heroine of the story that Stravinsky and Alexandre Benois, in 1928, had turned into the ballet Le Baiser de la fée, which Balanchine first choreographed in 1937 and to which he often returned up to 1952. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627989167772-IYZRWDR7AFMU5K67S8WU/IMG_6195.jpeg Essays - Balanchine in a Hollywood Crime Story 9. Zorina’s dancing for Balanchine was chiefly in musicals, but in 1943 she danced Terpsichore in his “Apollo” with Ballet Theatre. It’s seldom clear in “That Old Black Magic” quite what she is wearing on her feet, but this moment is the nearest we get to fifth position. As so often in Balanchine, it is the key to space, unlocking a quick cascade of steps. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627989359637-T9LYCXF9GF7LQH9SPZC7/IMG_6203.jpeg Essays - Balanchine in a Hollywood Crime Story 10-11. Here Zorina delivers a quick pair of crisp cabrioles. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627989417993-UYA46Z1Z4G9YZ30HF6GR/IMG_6204.jpeg Essays - Balanchine in a Hollywood Crime Story 10-11. The second of Zorina’s quick cabrioles. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990266093-2LB1TSHRZLZKZWBCTBEI/IMG_6221.jpeg Essays - Balanchine in a Hollywood Crime Story 12-21. Nothing is more remarkable in “That Old Black Magic” than this delivery of a favourite Balanchine point of style: the staggered and ecstatic descent of the raised leg from the apex of grand battement. In particular, this image anticipates one of the ballerina’s solos in the Scherzo of Diamonds (Jewels, 1967); but there are innumerable occasions in various ballets on which Balanchine ballerinas have made this lowering of the raised leg a tremendous effect. “That Old Black Magic” seems to be our earliest film of it. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990586558-RXS3OLJHS80Z6X19XRSZ/IMG_6222.jpeg Essays - Balanchine in a Hollywood Crime Story 12-21. Nothing is more remarkable in “That Old Black Magic” than this delivery of a favourite Balanchine point of style: the staggered and ecstatic descent of the raised leg from the apex of grand battement. In particular, this image anticipates one of the ballerina’s solos in the Scherzo of Diamonds (Jewels, 1967); but there are innumerable occasions in various ballets on which Balanchine ballerinas have made this lowering of the raised leg a tremendous effect. “That Old Black Magic” seems to be our earliest film of it. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990614320-6X9AVN4NQNCKC8QZDQ6X/IMG_6223.jpeg Essays - Balanchine in a Hollywood Crime Story 12-21. Nothing is more remarkable in “That Old Black Magic” than this delivery of a favourite Balanchine point of style: the staggered and ecstatic descent of the raised leg from the apex of grand battement. In particular, this image anticipates one of the ballerina’s solos in the Scherzo of Diamonds (Jewels, 1967); but there are innumerable occasions in various ballets on which Balanchine ballerinas have made this lowering of the raised leg a tremendous effect. “That Old Black Magic” seems to be our earliest film of it. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990667110-G2EVOQXETAM8VX1ZG0A9/IMG_6225.jpeg Essays - Balanchine in a Hollywood Crime Story 12-21. Nothing is more remarkable in “That Old Black Magic” than this delivery of a favourite Balanchine point of style: the staggered and ecstatic descent of the raised leg from the apex of grand battement. In particular, this image anticipates one of the ballerina’s solos in the Scherzo of Diamonds (Jewels, 1967); but there are innumerable occasions in various ballets on which Balanchine ballerinas have made this lowering of the raised leg a tremendous effect. “That Old Black Magic” seems to be our earliest film of it. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990706357-LEM8MJZ734UW7Y0U6882/IMG_6228.jpeg Essays - Balanchine in a Hollywood Crime Story 12-21. Nothing is more remarkable in “That Old Black Magic” than this delivery of a favourite Balanchine point of style: the staggered and ecstatic descent of the raised leg from the apex of grand battement. In particular, this image anticipates one of the ballerina’s solos in the Scherzo of Diamonds (Jewels, 1967); but there are innumerable occasions in various ballets on which Balanchine ballerinas have made this lowering of the raised leg a tremendous effect. “That Old Black Magic” seems to be our earliest film of it. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990744425-KDT6AW9EZ2YCNJXXD0Z6/IMG_6229.jpeg Essays - Balanchine in a Hollywood Crime Story 17-21.Even after the raised leg has returned to the floor, the body’s larger gesture continues, with the raised arms falling separately and the weight transferring to the front leg so that the back May arch more fully. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990884679-RU3TF8E9H9QM67L77YVN/IMG_6231.jpeg Essays - Balanchine in a Hollywood Crime Story 17-21.Even after the raised leg has returned to the floor, the body’s larger gesture continues, with the raised arms falling separately and the weight transferring to the front leg so that the back May arch more fully. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990905747-69271J5TCYP1NU2PM40B/IMG_6232.jpeg Essays - Balanchine in a Hollywood Crime Story 17-21.Even after the raised leg has returned to the floor, the body’s larger gesture continues, with the raised arms falling separately and the weight transferring to the front leg so that the back May arch more fully. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990947321-EMUY7KQEX1B7UCTIGAGE/IMG_6233.jpeg Essays - Balanchine in a Hollywood Crime Story 17-21.Even after the raised leg has returned to the floor, the body’s larger gesture continues, with the raised arms falling separately and the weight transferring to the front leg so that the back May arch more fully. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627990980468-WBCWKK28C4WZR4ELLBY7/IMG_6234.jpeg Essays - Balanchine in a Hollywood Crime Story 17-21.Even after the raised leg has returned to the floor, the body’s larger gesture continues, with the raised arms falling separately and the weight transferring to the front leg so that the back May arch more fully. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627991529595-2R6IFHYXRXBSVD0FQEWX/IMG_6237.jpeg Essays - Balanchine in a Hollywood Crime Story 22: In an earlier image, we’re given a closeup of Zorina that - uncharacteristically - cuts her supporting leg and one hand as she leans forward toward the camera in arabesque penchée. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627991699028-R4RYZAYABHVSE62DWJGE/IMG_6238.jpeg Essays - Balanchine in a Hollywood Crime Story 23-24. A recurrent image shows Zorina in arabesque on the horizon, stretching upward with her arms and head. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627991778873-Y60ZJTOZOMC2U3PSR52Q/IMG_6239.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627991911368-K22UTW4ME80GDMHLEE7Q/IMG_6240.jpeg Essays - Balanchine in a Hollywood Crime Story 25. Zorina’s overall look, in diaphanous robes that both cover and reveal her, is one that recurs in Balanchine choreography. It recalls the flowing Karinska dresses that in 1952 became the permanent uniform for Serenade (1934), a ballet now unimaginable without them. It is closer yet to the women of the Elegy that opens Tschaikovsky Suite no 3 (1970): intensely Romantic, women yearning while also unattainable. Zorina’s flowing hair is also a look to which Balanchine returned. In 1944, he tried for the first time , briefly, to have two of the lead women of Serenade lower their hair for the final Elegy. That experiment proved unsuccessful then - wrong hair - but became institutionalised in 1976, at least in New York City Ballet’s own production. It’s interesting that loosened hair - with the contrast between hair raised and loosened - is a theatrical effect employed by Balanchine and two women choreographers: Martha Graham and Pina Bausch. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627992436901-L733QDP73Z4QUJQ49JYN/IMG_6235.jpeg Essays - Balanchine in a Hollywood Crime Story 26-27: In one image, using the branches as support, Zorina stretches one way in arabesque penchée, then twists her body in fouetté until her raised leg is beaming forward. The overall line seems the same, but the sense of the body moving within the grandly stretched contour is very striking, and intensely Romantic. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627992726995-DMN8K98J5E4THXWJRG5O/IMG_6236.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627992762720-XGWJ7XVZ5IVO4S6RKYC2/IMG_6243.jpeg Essays - Balanchine in a Hollywood Crime Story 28-32. Zorina is shown leaping and running through horizontal and vertical paths, apparently free in unconfined space. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627992853406-74M9XQWGDRXZD9AVQQNY/IMG_6244.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627992956771-0AJ1JL5WPOPZOBD7OB40/IMG_6245.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627992977576-JUIZ7FBP79FSLH2A7EOG/IMG_6246.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627992990319-N2I6E4M7JZ51Y3AJF6BM/IMG_6247.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993295184-4UM5I48USBHO7CAGA27H/IMG_6248.jpeg Essays - Balanchine in a Hollywood Crime Story 33-42: “That Old Black Magic” ends with a quick series of surprising effects. Zorina begins to descend from her snowscape; the photograph frame and her signature return; but she steps out of the frame, at first seeming too large to be contained by it, then tiny as she approaches Johnny Johnston’s bedside. She lures him once more; then as he reaches for her, he vanishes. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993464214-JFONEKALQ1YUS94PGMSM/IMG_6249.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993493869-1X84USXDX7VB7YBMJJTZ/IMG_6250.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993510513-Y23LXP4HMHP9F4BNRQXU/IMG_6251.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993524852-DOJE2YFV17WPBADVP0HI/IMG_6252.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993539623-UTCZKQQQ0Z766639UN2O/IMG_6253.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993558337-VWRBU4Q8BI7RWNY2FLFJ/IMG_6254.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993572270-36I5PLPE53NBFKUT9NW7/IMG_6255.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993585078-XKCX23UCRHVRRJOQUOF6/IMG_6256.jpeg Essays - Balanchine in a Hollywood Crime Story https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627993596983-9MZ1UWL5KEB46NZV57K2/IMG_6257.jpeg Essays - Balanchine in a Hollywood Crime Story https://www.alastairmacaulay.com/all-essays/76cfo47djkyw2wanwz6yamgrivr28o monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627772842770-OGCRZL2C8TREESNC8YKH/IMG_5723.jpeg Essays - The opening arabesque of Giselle’s Act One variation: Olga Spessivtseva, Alicia Markova, Margot Fonteyn. 1: Olga Spessivtseva as seen on live 1932 film of “Giselle” at the Savoy Theatre. (Image flipped.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627772928252-8I3BYXGIMJOXPX6BOQS9/IMG_5724.jpeg Essays - The opening arabesque of Giselle’s Act One variation: Olga Spessivtseva, Alicia Markova, Margot Fonteyn. 2: Margot Fonteyn as Giselle in 1937. Studio photograph by Gordon Anthony. Thirty years later, Fonteyn was dancing Giselle with the same arms, as photographs show. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1627773011287-G3572CTQP6LL1U17MH3A/IMG_5725.jpeg Essays - The opening arabesque of Giselle’s Act One variation: Olga Spessivtseva, Alicia Markova, Margot Fonteyn. 3: Alicia Markova dancing Giselle with the Markova-Dolin Ballet, 1935-1937. (Image flipped.) https://www.alastairmacaulay.com/all-essays/temv3rawgmi5autydjniiwgp3rxpsq monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1626723173143-62MUKHW5JI262Y9NH23R/IMG_2358.jpeg Essays - Covers of ballet publications by celebrated artists 1: Joseph Cornell cover for “Dance Index”, showing Margot Fonteyn and Robert Helpmann in “Swan Lake” (“Le Lac des cygnes”) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1626723314601-RHWCAY9BI0CQWP3KTA2J/IMG_2361.jpeg Essays - Covers of ballet publications by celebrated artists 2: Cover by Cecil Beaton for programme for the Sadler’s Wells Ballet 1949 season at the Metropolitan Opera House, New York. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1626723508293-UXT88UUACSOJH7UM1P02/IMG_2369.jpeg Essays - Covers of ballet publications by celebrated artists 3: Edward Gorey cover for “Ballet Review” vol. 1 no. 3, 1968. The issue and its sequel included an illustrated story of the ballet by Gorey. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1626723629040-SYPYU39UJ8ABSEOUZXEV/IMG_2363.jpeg Essays - Covers of ballet publications by celebrated artists 4: Edward Gorey cover for “Ballet Review” vol. 4 no 1, 1971, “La Déesse Éclectique”. It may well be that Gorey in this image was referring to the “Balllet Review” editor, his friend and colleague Arlene Croce. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1626723784086-EAJLYPKBU67E5E54WHE7/IMG_2371.jpeg Essays - Covers of ballet publications by celebrated artists 5: Edward Gorey cover for “Ballet Review” vol. 7 numbers 2 & 3. In this issue, the last to which Gorey contributed, editor Robert Cornfield invited a range of witty dance-goers to pretend they were a leading New York impresario with carte blanche to present the international season of their choice. Gorey’s wicked season is especially entertaining. https://www.alastairmacaulay.com/all-essays/llfij4yqlj2xabb9iplf8nwhnxoznl monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1626720558516-3MUAVP6UQBGPWCTRY9MY/IMG_2191.jpeg Essays - Artist and muse: Margot Fonteyn, Frederick Ashton, and “Cinderella” 1949 photograph by Felix Fonteyn of Frederick Ashton and Margot Fonteyn. She is dressed as Cinderella going to the ball in Ashton’s 1948 three-act ballet. https://www.alastairmacaulay.com/all-essays/zibml1rlz6sho6w1yzs0qes29njsyw monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624834040441-95LOZ6TEUFTYJKYHD1JW/IMG_8744.jpeg Essays - Anthony Dowell, poet of male adagio style 1: Anthony Dowell’s piquée penchée arabesque in Beliaev’s opening solo in Frederick Ashton’s “A Month in the Country” (1976). Beliaev takes this piquée penchée as his petit développé conclusion of his opening triple pirouette en attitude. Dowell, apparently incapable of an ugly or unclassical shape, made the unorthodox line here the perfect epitome of Beliaev’s fresh but alien presence in the aristocratic household Photo: Leslie E. Spart. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624834443926-BL7K6BZK346VGIC1N3FT/IMG_8739.jpeg Essays - Anthony Dowell, poet of male adagio style 2: Anthony Dowell and Antoinette Sibley (“the Heavenly Twins”) as Oberon and Titania in Frederick Ashton’s “The Dream” (1964). They continued to dance this ballet until 1986. Ashton left it and “A Month in the Country” to Dowell, who has now supervised stagings of it in countries across the world. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624834959809-VC05NIMSTUVI982ORV1O/IMG_8755.jpeg Essays - Anthony Dowell, poet of male adagio style 3: Anthony Dowell in Rudolf Nureyev’s 1963 adagio Act One solo for Prince Siegfried in the Royal Ballet production of “Swan Lake”. (It is fair to assume that Frederick Ashton advised Nureyev in the choreography of this variation; it is also unlikely that Nureyev ever danced it as beautifully as did Dowell.) This photograph, by Leslie E.Spatt, was probably taken in the early 1970s; it shows the “Swan Lake” designs by Leslie Hurry. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624835295518-NKCQR7NSMH29DQZM6U3V/IMG_8756.jpeg Essays - Anthony Dowell, poet of male adagio style 4: Dowell in the same Nureyev solo for Prince Siegfried - see 3. Photo: Leslie E. Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624835374189-GD2UKF55N7QUAEP9WR6V/IMG_8757.jpeg Essays - Anthony Dowell, poet of male adagio style 5: Dowell in the same Nureyev solo for Prince Siegfried - see 3. Photo: Leslie E. Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624835401872-KGU74RNXRLGASP1OSYNB/IMG_8758.jpeg Essays - Anthony Dowell, poet of male adagio style 6: Dowell in the same Nureyev solo for Prince Siegfried - see 3. Photo: Leslie E. Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624835425030-6JNERCZBSR9ABC2STWL2/IMG_8759.jpeg Essays - Anthony Dowell, poet of male adagio style 7: Dowell in the same Nureyev solo for Prince Siegfried - see 3. Photo: Leslie E. Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624835490798-BGKLCLXB18S6HFHV1QDC/IMG_8762.jpeg Essays - Anthony Dowell, poet of male adagio style 8: Anthony Dowell, dancing Frederick Ashton’s Sarabande Act Two solo for the Prince in “The Sleeping Beauty”. Ashton had choreographed this for Dowell in 1968; this photograph by Leslie E. Spatt shows Dowell dancing it in Ninette de Valois’s new 1977 production. Dowell stopped dancing the role after 1978; this Ashton solo remains part of the current Royal Ballet production and the Boston Ballet production too. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624835699562-075MT89302Z749SGS1RL/IMG_8763.jpeg Essays - Anthony Dowell, poet of male adagio style 9: Anthony Dowell, dancing Frederick Ashton’s Act Two Sarabande solo in the 1978-1972 Peter Wright production for which it was originally choreographed. Photo: Leslie E.Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624835872683-DDG9XUZ31JBXL6RJ2ATC/IMG_8754.jpeg Essays - Anthony Dowell, poet of male adagio style 10: Anthony Dowell, dancing the Prince’s Act Three variation in “The Sleeping Beauty”. This photo shows Dowell dancing at the dress rehearsal of Ninette de Valois’s 1977-1992 production. He had been absent with a neck injury for almost twelve month; this photograph demonstrates the beauty of form with which he returned to the stage. Today, Royal and other interpreters of this variation tend to take this piquée first arabesque (in the variation’s opening zigzag) with head turning to face the audience (or the mirror); but it was characteristic of Dowell to emphasise the arabesque’s line with his face abs eyes. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624836155374-DBLMY41OZ7PG1X30RUEP/IMG_8764.jpeg Essays - Anthony Dowell, poet of male adagio style 11: Anthony Dowell as Solor in Rudolf Nureyev’s 1963-1987 production of the Realm of the Shades from Marius Petipa’s “La Bayadère”. Photo: Leslie E.. Spatt. https://www.alastairmacaulay.com/all-essays/0efbu6pseij1e751l0mcbp9mya27aa monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624540018058-DBYHH9LFX6JS0UA2PRIJ/IMG_8329.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 1: Joel MacCormack (Romeo) and Isabel Adomakoh Young (Juliet) as their hands meet at the Capulet ball. Photo: Jane Hobson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624540216676-WCZJ5CKM5E82C2JL57C1/IMG_8328.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 2: Joel MacCormack (Romeo) and Isabel Adomakoh Young (Juliet) joining in their first kiss at the Capulet ball. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624540334305-0A2P0MXIBQIJ7ZRJEY1U/IMG_8331.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 3: Romeo (Joel MacCormack) and Juliet (Isabel Adomakoh Young) finding bliss with each other. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624541095711-EERRGIFKCBO1228C68PG/IMG_8323.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 4:Joel MacCormack as Romeo at the front of the stage. Photo: Jane Hobson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624541251284-2GKONZO6FVXJYUF8NF2H/IMG_8324.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 5: Juliet (Isabel Adomakoh Young) urging Phoebus’s speeds to “Gallop apace”. Photo: Jane Hobson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624541378760-1ZI2L20QTG2QE4SAS4LC/IMG_8332.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 6:Mercutio (Cavan Clarke) fighting with Tybalt (Michelle Fox). Photo: Jane Hobson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624541504215-SW88KG31AHCUY4593KMG/IMG_8330.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 7: Mercutio (Cavan Clarke) with Balthasar (Mark Zayat). Photo: Jane Hobson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624541672004-F041VJMUSX5HYNDKGXOD/IMG_8327.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 8: Tybalt (Michelle Fox). Photo: Jane Hobson. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1624541792673-ODNJ2IEEMM05B3BVK76A/IMG_8325.jpeg Essays - Shakespeare’s “Romeo and Juliet” in the Open Air at Regent’s Park 9: Benvolia (Aretha Ayeh). Photo: Jane Hobson. https://www.alastairmacaulay.com/all-essays/wwvzuzxvvtka47yjdqymmdu6okery5 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648024237-Y9FRDD288TL3ADWNU8FZ/IMG_4413.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 1: Luciana Novaro in Leonide Massine’s “Le Tricorne” at La Scala, Milan https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648069539-0EWEVWCYKO6M7CV8DIM2/IMG_4415.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 2: Luciana Novaro as the Chosen Maiden in Leonide Massine’s “La Sagra della Primavera” (“The Rite of Spring”) at La Scala, Milan https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648146661-G47S1YBBKFYW6ZTOQYTF/IMG_4416.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 3. Carla Fracci and Erik Bruhn in “Giselle” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648191346-K0PA1IFXPF1TYV06S4M4/IMG_4417.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 4: Violetta Prokhorova Elvin as Princess Florine in “The Sleeping Beauty” at Covent Garden https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648254633-6IBFWMZE2CVVFRJOMFO5/IMG_4420.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 5: Violetta Elvin as Lykanion in Frederick Ashton’s “Daphnis and Chloë” with the Daphnis of Michael Somes https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648322702-43WS9NYCF2WE1VOB4FIF/IMG_4432.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 6: Maria Meneghini Callas greeting Violetta Elvin onstage at La Scala in curtain calls after the 1952 production of Verdi’s “Macbeth” conducted by Victor de Sabata. Callas was Lady Macbeth; Elvin was Ecate (Hecate), goddess of witchcraft. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648446472-ZQ1R3SFWP6EIBR1VSWFW/IMG_4436.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 7: Violetta Elvin (uncredited) as Odette in “Swan Lake” with Anton Dolin as Siegfried in the 1953 MGM film “Never Let Me Go” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648521358-ZK2JZRLDJVQC56KIT83Y/IMG_4438.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 8: Violetta Elvin as a wholly inauthentic Marie Taglioni as choreographed by Pauline Grant for the British film “Melba” (1953). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648585840-PYR1NJGFOGMNN9EVFB83/IMG_4440.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 9: Violetta Elvin as Queen of the Waters in Frederick Ashton’s “Homage to the Queen” (1953). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622648671431-OTK5HUVNFO1KGM7XWD2V/IMG_4441.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 10: Violetta Elvin, on her ninety-second birthday in 2015, at her home in Vico Equense, on the Bay of Naples, with the writer Raffaele Lauro, the author of a book about her life in Italy. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1623013795618-AJXCZDZC99FSRH74F75Z/IMG_4972.jpeg Essays - Deaths of three ballerinas in Italy in two consecutive days: Luciana Novaro; Violetta Elvin; Carla Fracci. 11: Violetta Elvin gave this photograph of her Odette to Novaro, signing it “To dear Luciana with sincere good wishes and many kisses, Violetta.” Novaro’s daughter shared this with Monica Bragagnoli, Novaro’s student and friend; I’m grateful to both women for this chance to reproduce this. https://www.alastairmacaulay.com/all-essays/t9izncppcs6lqqqy6zunsl4aeubyf2 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622243268922-NQ66TOX44V7HTVPHIMWA/IMG_3740.jpeg Essays - Shaw Shorts at the Orange Tree Dorothea Myer-Bennett (Aurora Bompas) and Joe Bolland (Henry Apjohn) in George Bernard Shaw’s “How He Lied to Her Husband” @The Other Richard https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622243364368-JA89H0DPBGOO5T1AR70E/IMG_3741.jpeg Essays - Shaw Shorts at the Orange Tree Alex Bhat (Gregory Lunn) and Hara Yannas (Mrs Juno) in George Bernard Shaw’s “Overruled” @The Other Richard https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1622243455872-QNBPUMBR7W0GDAI9UL36/IMG_3742.jpeg Essays - Shaw Shorts at the Orange Tree Alex Bhat (Gregory Lunn) and Hara Yannas (Mrs Juno) in George Bernard Shaw’s “Overruled”. @The Other Richard https://www.alastairmacaulay.com/all-essays/iv1yernzyw59w0iffcpizds319shmo monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620088821459-JP600AT9OV00AJ0Q0UT8/IMG_0570.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 1: Mark Lancaster in the 1960s. Photo @ Chris Morphet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620088850881-Y6OT5OOUMMTNSLSNZ5DT/IMG_0572.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 2: “Sounddance”, designed by Lancaster, choreographed by Merce Cunningham https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620088907882-295GA77TBESA81BUWC0M/IMG_0574.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 3: “Sounddance” (more) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620171238594-8QQWVVCO94S7SXJ92TWK/IMG_0674.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 4: “Sounddance” (1975), choreographed by Merce Cunningham, designed by Mark Lancaster https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620171377046-NQ2CDCRXY2T6L1KXHO9J/IMG_0676.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 5: Costume design by Mark Lancaster for Merce Cunningham’s “Duets” (1980). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620171473113-2Y0DIKC9DKPOB8EI3IWU/IMG_0675.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 6: Costume design by Mark Lancaster for Merce Cunningham‘s “Duets” (1980) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620171570007-1C5QNF7SBPEQZZUYPF9T/IMG_0673.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 7: Louise Burns and Robert Kovich in the original production of “Duets” (1980), choreographed by Merce Cunningham, with designs by Mark Lancaster https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620171647766-JXZTM8DC75RZD1NLYZMB/IMG_0672.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 8: Chris Komar and Susan Emery in the original production of “Duets” (1980), choreographed by Merce Cunningham, designed by Mark Lancaster. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620171789845-C70KXU8IZLM4VUGZFL1J/IMG_0671.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 9: Joseph Lennon and Lise Friedman in the original production of Merce Cunningham’s “Duets” (1980), designed by Mark Lancaster. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620171915081-DHQJZ0789K11A9DEB47V/IMG_0670.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 10: Alan Good and Karole Armitage in the original production of Merce Cunningham’s “Duets” (1980), with designs by Mark Lancaster. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620172102040-D0KQ4S3TL2IV0R95PUIR/IMG_0669.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 11: Merce Cunningham and Catherine Kerr in the original production of Cunningham’s “Duets” (1980): costumes by Mark Lancaster. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620172202973-QWYCLW8VBBM5IK2V1KL6/IMG_0576.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 12: Merce Cunningham’s “Pictures” (1982): lighting and costumes by Mark Lancaster. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620172299958-HF25IWL6CHT198EKNDR3/IMG_0577.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 13: Helen Barrow, Joseph Lennon, and Alan Good in Merce Cunningham’s “Coast Zone” (1983): costumes by Mark Lancaster. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620172496335-I552JLW8O2WFNC3ONOUN/IMG_0703.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 14: Merce Cunningham‘s “CRWDSPCR” (1993), designed by Mark Lancaster. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620382910315-NC9HXB3459FF4QZ6KBZG/IMG_0992.jpeg Essays - Mark Lancaster (1938-2021), superlative designer for Merce Cunningham dance theatre, R.I.P. 15: Ray Johnson, “Mark”, 1969, detail. (Ray Johnson to Ann Wilson from Bellevue 3 September 1963: “Mark Lancaster came to see me wearing an elegant English blue suit made by the Beatles’ tailor and Sari Dienes floated in and talked and talked and talked.”) See the May 5 Instagram post by the Johnson scholar Ellen Levy. https://www.alastairmacaulay.com/all-essays/hdqg2zmr539rtn3sio9kmm5pvye5i2 monthly 0.5 2022-06-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064508374-V3H081KH91FLFW7LI7QR/IMG_0513.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064525985-HXNDIYZ5K9T7TT3GMBPT/IMG_0515.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064544027-Y5PLZHFG656CF5QAXKTA/IMG_0520.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064561423-ZII3X371IVAQ2B55NGFF/IMG_0522.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064580193-0AD8F6KZ8N52D4CMLBL8/IMG_0525.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064600097-1UGZ9HTSC9X44S8RIV51/IMG_0527.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064638724-E65PT044HX75KT8B3QOO/IMG_0533.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064658750-4T07PFF3Y3TOH13OB9ZF/IMG_0539.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064675252-833SVH6OKHHU0YUZ6WJ9/IMG_0548.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064693943-VEUK4A25F3MFUFNYYKHV/IMG_0551.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064712047-DUTN23GDMZN09W8PZ6BU/IMG_0553.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620064728299-QO5BWD2COL9VC1NTN42O/IMG_0555.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620086270552-6X41BOY692QR0QEPJC3L/IMG_0569.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, July 2020 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620113982684-ZUV4FA3KKOM7OH4BQYGP/IMG_0583.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, November 2014 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620114558603-0NA61CIT6A2JPINI98YM/IMG_0588.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620114598875-O95ETV03V4JFNVKYQK1Z/IMG_0589.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, August 29, 2017 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620115731927-0QLE43G97GQ0SLBMAAMC/IMG_0592.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques D’Amboise, 27 October, 2017 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620116173797-4ZMIHR6L1PKLV4IDFPCA/IMG_0595.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques D’Amboise, November 14, 2017 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620116295759-OUZI55SNOOYK05NB7OI5/IMG_0579.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, May 8, 2018 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620116524735-0DGO6ON5KP48NC482LL6/IMG_0596.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, July 2, 2018 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620116627246-V1Z29LYPRRJ3F9YLC0T1/IMG_0591.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Poem sent by Jacques D’Amboise, July 2, 2018 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620116856499-H2X8DZKI12Y2TFSX7BGS/IMG_0593.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620116874774-57IUNNT3CB7FIT5U1KPN/IMG_0594.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques D’Amboise, July 10, 2018 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620117339890-QGI1CEDGN47N91O9K2A0/IMG_0597.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620117354997-PU4Z4Q69DIQIFTKS77P7/IMG_0598.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, July16, 2018 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620117545474-XNLF7KQ7AJWBBCUX6SAL/IMG_0600.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620117559640-J1NT1FM8FCW9OPSXMZ33/IMG_0601.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, September 25, 2018 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1620117824332-8HORZRD3I6H1T575FHS1/IMG_0582.jpeg Essays - The beloved Jacques d’Amboise, Balanchine’s Apollo, the wild boy made civilised by art Email from Jacques d’Amboise, 15 July, 2020 https://www.alastairmacaulay.com/all-essays/dgcdwg79l6t4vjqu4istv97m0vjln9 monthly 0.5 2022-12-13 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1619565779913-FKM9SNKP8FY5URMI1D7Y/IMG_9941.jpeg Essays - Nancy Lassalle (1927-2021), philanthropist of the dance, and much more 1: Nancy Lassalle https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1619565809089-BAZY3X2IF8I4B3HWOF6F/IMG_9945.jpeg Essays - Nancy Lassalle (1927-2021), philanthropist of the dance, and much more 2: Nancy Lassalle, Board Member Emerita of the School of American Ballet, with a number of its students on the 2019 foundation of the Lassalle Cultural Program./ https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1619565903812-VWKRVLAZO5K91340LDJ1/IMG_9946.jpeg Essays - Nancy Lassalle (1927-2021), philanthropist of the dance, and much more 3: Photograph by Nancy Lassalle of George Balanchine demonstrating in 1961 for a two-day teachers’ workshop. Lassalle’s astounding photographs of Balanchine’s 1961 demonstrations were published in 2016. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1619566119127-IJOULK28HLQWXOLGIS2Y/IMG_9947.jpeg Essays - Nancy Lassalle (1927-2021), philanthropist of the dance, and much more 4: Photograph taken at a spring 1965 party in Nancy Lassalle’s apartment. Left to right: Frederick Ashton; Suzanne Farrell; George Balanchine; Margot Fonteyn; Rudolf Nureyev. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1619854827331-WVS5F7RH24ET4TYXR2SO/IMG_0265.jpeg Essays - Nancy Lassalle (1927-2021), philanthropist of the dance, and much more 5: Jean Lurçat, 1935 costume design for George Balanchine’s “Serenade”. Gift of Nancy Lassalle in 2016 to the New York Public Library for the Performing Arts Dance Division. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1619854861162-HGOVOF72DBS0Q02KZTW2/IMG_0266.jpeg Essays - Nancy Lassalle (1927-2021), philanthropist of the dance, and much more 6: Jean Lassalle, 1935 costume design for George Balanchine’s “Serenade”. Gift of Nancy Lassalle to the School of American Ballet. https://www.alastairmacaulay.com/all-essays/zgf4tcb4hgz5c31pn21ih8kt4iz3fb monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618673467509-PI6PDR4H1THGAEVGQJWL/IMG_8920.jpeg Essays - MerceDay 10: the ambiguities of “RainForest” (1968) https://www.alastairmacaulay.com/all-essays/nbww2r2wwc0da2yx0c4honxpxv9a65 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618660356073-S64R0VZSZEDVJ5EJN3AD/IMG_8932.jpeg Essays - MerceDay 9: lost dances of the Cunningham-Cage-Rauschenberg dance theatre enterprise https://www.alastairmacaulay.com/all-essays/2lexwxwjlae73euk2wfe8amds6njls monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618609976854-57XQBZS4VQLG53KCMEJR/IMG_8911.jpeg Essays - MerceDay 8: the choreographer and chance operations https://www.alastairmacaulay.com/all-essays/vh4c417kbzzcq9ljzukik1feil280b monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618607525519-A35BJWECRRRZ4MEFL906/IMG_8931.jpeg Essays - MerceDay 7: the choreographer and Satie’s “Socrate” https://www.alastairmacaulay.com/all-essays/d9fnxckgpike640xwwjn54pgva0kj0 monthly 0.5 2021-08-29 https://www.alastairmacaulay.com/all-essays/bpwru43usocjk7z1pwsvpykkjs0jaj monthly 0.5 2021-04-16 https://www.alastairmacaulay.com/all-essays/mzzdhld4m33zjgasg9gu5zul2q0a3w monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618603785942-W2Z8EZOKFVXG31FHEQ8Z/IMG_8926.jpeg Essays - MerceDay 5: The soloist jumping at Black Mountain College https://www.alastairmacaulay.com/all-essays/p35fndi1ueeukmkkimxf73ei3j2wsj monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618602938283-5FX1G4ENPFPH61E0R2FM/IMG_8918.jpeg Essays - MerceDay 4: the young choreographer and “The Seasons” https://www.alastairmacaulay.com/all-essays/ccvay1g6iw5b08ymay593xajthndh4 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618601903408-1U7B9Z3180B63GNA0E7I/IMG_8907.jpeg Essays - MerceDay 2: The student in Seattle https://www.alastairmacaulay.com/all-essays/22qsj8uif1hwvh3t6s2cshkq9g8mau monthly 0.5 2021-04-16 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1618601354556-4VAH9EN52NXSNRCXZK4D/IMG_8908.jpeg Essays - MerceDay: 1, the young boy in Centralia, Washington https://www.alastairmacaulay.com/all-essays/1b69hjzhshbbjvepj0dy3ddoa4x5cg monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/60be8ceb-c5a0-4bba-a7c7-17cdab49828c/2D60B540-C06A-47E4-8461-911BC5202A03.jpeg Essays - Balanchine the Dramatist - 1.Balanchine’s “Serenade”: the fourth point in the seventeen women’s opening ritual. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7e84d78d-94d6-4dee-836f-e5372cb525f2/A822555F-5341-4ABD-9033-5C8EFC7CA43E.jpeg Essays - Balanchine the Dramatist - 2.The first part (or “act”) of Balanchine’s “Liebeslieder Walzer” (1970). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/097c6d15-6693-470b-8f65-74fd2deb230c/58562CD4-9E40-4494-902D-D66D32DEB4AC.jpeg Essays - Balanchine the Dramatist - 3.The second part, or “act”, of Balanchine’s “Liebeslieder Walzer”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/30aedd12-6b4d-4d31-8cb9-a92c65be5989/F83099C6-3153-4BF1-89F8-C1276DA5A9C7.jpeg Essays - Balanchine the Dramatist - 4. The opening image of George Balanchine’s “Serenade” as caught in a 1940 film by Ann Barzel of the Ballet Russe de Monte Carlo in Chicago (hence the blurring). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e04fd4a7-1a34-4e9e-9661-d1e0107b8cc2/6269615D-8894-496F-91AC-C7E6468573F2.jpeg Essays - Balanchine the Dramatist - 5. Tilly Losch and Lotte Lents as the two Anna’s in Balanchine’s 1933 staging of “Les sept Pêchés capitaux” (“The Seven Deadly Sins”), which was presented in London as “Anna-Anna”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/c728264d-4b66-489e-bc31-5fcc2e2c61f1/24B1AF60-C1A9-44AC-93CE-05F697E851AE.jpeg Essays - Balanchine the Dramatist - 6: Adam Lüders (left) watching Balanchine rehearse his role as Robert Schumann with Karin von Arolindingen as Clara in “Robert Schumann’s ‘Davidsbündlertänze’” (1980). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b2a24623-accf-48e4-b30b-099314f008f8/7F22E8CE-1007-46ED-B088-77F166C5B10B.jpeg Essays - Balanchine the Dramatist - 7: Jacques d’Amboise and Suzanne Farrell in “Robert Schumann’s ‘Davidsbündlertänze’” (1980). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a15046d2-da3b-4260-b705-d5b56f92361d/BED325D1-ED12-4631-94F6-BEFD03D6AA97.jpeg Essays - Balanchine the Dramatist - 8: A screen-capture of the final scene of Balanchine’s “Robert Schumann’s ‘Davidsbündlertänze’”, with Karin von Aroldingen and Adam Lüders. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/91bdb7a8-c5d1-4a18-b667-f1ce4a14a0a6/44567963-77B6-4F2E-A34D-A95857FDA0BE.jpeg Essays - Balanchine the Dramatist - 9: Aria I in Balanchine’s “Stravinsky Violin Concerto” (1972). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/98f08df7-fcd8-4761-92b1-b5dd81dcc977/3A794792-BC45-4005-B9D3-C05BCF965119.jpeg Essays - Balanchine the Dramatist - 10: Aria II in Balanchine’s “Stravinsky Violin Concerto”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/baea51f3-b84c-4547-8634-2fa97d169e6e/4907CC3B-CB3E-4543-8AA9-2D45FA0F8865.jpeg Essays - Balanchine the Dramatist - 11: Canova’s model for his second version of “Psyche Awakened by Cupid’s Kiss”, Metropolitan Museum, New York. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/17237db4-6ed8-4a5f-9f56-fd9f17d79e62/9BBB4620-9AEE-466B-A0C3-AFFE60DE6573.jpeg Essays - Balanchine the Dramatist - 12: The “Dark Angel” promenaded in arabesque but her knee in the Elegy of Balanchine’s “Serenade” (1934). María Calegari in arabesque, supported by Peter Frame: New York City Ballet. The semi-recumbent heroine here is Kay Mazzo. Collection: New York Public Library. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2d7ea441-0bb9-41fd-b1dd-ea8929e878d0/E062417D-6747-4520-ACAD-ECE033BA1C6D.jpeg Essays - Balanchine the Dramatist - 13: Orpheus (Lew Christensen), Eurydice (Daphne Vane), and Amor (William Dollar) in Balanchine’s 1936 two-act Metropolitan Opera production of Gluck’s “Orpheus and Eurydice”. Photo: George Platt Lynes. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/56506125-f280-4afd-9539-04f13730814d/49D93728-D546-4DD6-B174-8FA0F342C09A.jpeg Essays - Balanchine the Dramatist - 14: Orpheus (Nicolas Magallanes) and Eurydice (María Tallchief) in Balanchine’s 1948 Stravinsky ballet “Orpheus”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d30be61c-3d78-4b13-8e0c-c586b63df032/A0898D64-38A1-48A1-B9C9-16CBF0B07C48.jpeg Essays - Balanchine the Dramatist - 15: Jean-Pierre Frohlich in the Sarabande solo (“the jester”) of the first pas de trois In Balanchine’s “Agon” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3897d75d-bdbc-4783-bc78-aa8b9ea81cd7/2FECC2C2-D6C2-45B7-874D-1E83CE819B08.jpeg Essays - Balanchine the Dramatist - 16: The final encounter of the lovers in Balanchine’s “Divertimento from ‘Le Baiser de la fée’”, in the scene Balanchine added in 1974. Joaquin de Luz and Megan Fairchild. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9bf9dcfa-1a6d-4d17-af3a-651c51050569/1E66A0B8-ED19-40B1-9F36-102F04F6F6E2.jpeg Essays - Balanchine the Dramatist - 17: The final encounter and parting of the lovers in Balanchine’s “Divertimento from ‘Le Baiser de la fée’”: the scene added in 1974. Robert Fairchild with Tiler Peck. https://www.alastairmacaulay.com/all-essays/nz9s3rqj35o91erjterjti7b7i1grf monthly 0.5 2022-08-03 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617399807705-U66JK1OB2QJPUTRQLT5C/IMG_7352.jpeg Essays - Which sex most enjoys sex? - Frederick Ashton, Margot Fonteyn, and the Tiresias factor: Women’s History in Dance. 132: Margot Fonteyn as the female Tiresias with John Field as her lover in Frederick Ashton’s ballet “Tiresias” (1951). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617400356519-N6PFE5MD6LU0KR3LF2FU/IMG_7400.jpeg Essays - Which sex most enjoys sex? - Frederick Ashton, Margot Fonteyn, and the Tiresias factor: Women’s History in Dance. 133: Margot Fonteyn lifted by John Field in one scene of Ashton’s “Tiresias” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617400411563-08AQWPFRD5HRM98FXA9X/IMG_7401.jpeg Essays - Which sex most enjoys sex? - Frederick Ashton, Margot Fonteyn, and the Tiresias factor: Women’s History in Dance. 134: Margot Fonteyn as the female Tiresias in Frederick Ashton’s ballet of that name. https://www.alastairmacaulay.com/all-essays/6utt0vc0ip9i5tyd4ry89nqlt89d4m monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617316114362-11TML8JCK57PLRF8E6O2/IMG_7325.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 124: the first visual depiction of female pointwork? Giovanna Baccelli in 1780 dancing “Les Amants surpris”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617316191723-ZCSXBMR0S0CSNYE6VO81/IMG_7336.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 125: Giovanna Baccelli, again dressed for “Les Amants surpris”, depicted by Thomas Gainsborough as if dancing as if in the grounds of Knole. (The tree behind her echoes her tendu.) It is remarkable how her costume anticipates that worn by Natalia Petrovna in Frederick Ashton’s ballet “A Month in the Country” (1976). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617316421833-Y21L416228JCGAC91FLU/IMG_7337.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 126: Parisa Khobdeh, many years a leading dancer of the Paul Taylor Dance Company, before Gainsborough’s portrait of Giovanna Baccelli at Tate Britain https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617316511966-VQS7YWSOO9ZYKHDWSQ1Y/IMG_7342.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 127: John Boydell’s satirical engraving of the 1781 London production of Jean-Georges Noverre’s ballet tragique “Jason et Médée”, as performed at His Majesty’s Theatre at the Haymarket, London. Gaétan Vestris is Jason (centre); Giovanna Baccelli is Medea (right); Adelaide Simonet is Creusa (left). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617316693071-9WQDJ7RL1LMA4DJG6Z8U/IMG_7345.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 128: Giovanna Baccelli depicted by Joshua Reynolds as if turning away from her duties with the tragic mask to cast a more intimate look at us, or rather at her lover, John Sackville, third duke of Dorset. This painting still hangs in the private rooms at Knole, his vast country house in Kent. By kind permission of the present Lord Sackville. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617316880962-SHRT7MBD2XO6FO76AR11/IMG_7346.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 129: Locatelli’s nude statue of Giovanna Baccelli, one of the most public works of art at Knole, placed at the base of the famous Painted Staircase. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617316967906-TCUCFHOQIJ6WEGDZYS73/IMG_7347.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 130: a French portrait of Giovanna Baccelli, c.1790. By kind permission of Keith Cavers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617317039314-O157VG8D6H9ESNMTOW2U/IMG_7348.jpeg Essays - The first depiction of female pointwork? - Giovanna Baccelli, Italian ballerina in London and Paris: Women’s History in Dance, 2021 131: a miniature of Giovanna Baccelli, with her initials in seed pearls on the reverse above a lock of her hair. By kind permission of Keith Cavers. https://www.alastairmacaulay.com/all-essays/fzsd204wq547z9rzy9mxzdi1iyvcd9 monthly 0.5 2022-05-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617231578944-P7TB3VSGURFOVPCYONX7/IMG_7267.jpeg Essays - “Not your farm animal”, Alexandra Waterbury, the sexual abuse of women in ballet, and Teresa Reichlen’s “We, the dancers” speech: Women’s History Month in Dance, 2021 112: Alexandra Waterbury with the placard “Still Not Your Farm Animal”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617231670023-0S6W892STPTK0LPZ4LYL/IMG_7268.jpeg Essays - “Not your farm animal”, Alexandra Waterbury, the sexual abuse of women in ballet, and Teresa Reichlen’s “We, the dancers” speech: Women’s History Month in Dance, 2021 113: Teresa Reichlen and the dancers of New York City Ballet at the September 2018 gala after her “We, the dancers” speech https://www.alastairmacaulay.com/all-essays/ckmm3uci0sbrkped8vqkyr4kgtwmbw monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617110191947-8FWQD8574PK9M14HROZ8/IMG_7197.jpeg Essays - The heroic simplicity of Isadora Duncan: Women’s History Month in Dance, 2021 117: Isadora Duncan dancing in the Theatre of Dionysus, Athens. Photograph by Raymond Duncan. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617110323339-06SO023G2S1CRVR3RI5Y/IMG_7198.jpeg Essays - The heroic simplicity of Isadora Duncan: Women’s History Month in Dance, 2021 118: Isadora Duncan, photographed by Arnold Genthe https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617110362623-WMRJE2UXFKAJB6M4PIMD/IMG_7199.jpeg Essays - The heroic simplicity of Isadora Duncan: Women’s History Month in Dance, 2021 119: Isadora Duncan https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617110397986-JNIRXSBQQGE2272WX4DL/IMG_7200.jpeg Essays - The heroic simplicity of Isadora Duncan: Women’s History Month in Dance, 2021 120: Isadora Duncan, by Abraham Walkowitz, c.1920 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617110459410-RIKLEAC5SL2D9TMF3EX2/IMG_7201.jpeg Essays - The heroic simplicity of Isadora Duncan: Women’s History Month in Dance, 2021 121: Isadora Duncan, photographed by Arnold Genthe https://www.alastairmacaulay.com/all-essays/cvb8sop3ege0lkbx8k7ukjblq3wuvm monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617099410952-WCD7N5B5CTGCROCDPG2G/IMG_7176.jpeg Essays - The ballet mother - Black Queen, Margot Fonteyn’s mother, Mrs Hilda Hookham: Women’s History Month in Dance, 2021 112: The young Margaret (Peggy) Hookham with her mother in Shanghai in 1931. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617100214041-D4FQ5OXC1L73APPUZIA2/IMG_7181.jpeg Essays - The ballet mother - Black Queen, Margot Fonteyn’s mother, Mrs Hilda Hookham: Women’s History Month in Dance, 2021 113: Mrs Hookham and her daughter Peggy on board ship https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617100483227-N4N01AMPD2B38KCOXBQI/IMG_7182.jpeg Essays - The ballet mother - Black Queen, Margot Fonteyn’s mother, Mrs Hilda Hookham: Women’s History Month in Dance, 2021 114: Paris, 1936 - left to right, Laurel Martin, Mrs Hookham, Margot Fonteyn, Molly Brown https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617100580602-F0LK7866T0I0W6A2LYVA/IMG_7183.jpeg Essays - The ballet mother - Black Queen, Margot Fonteyn’s mother, Mrs Hilda Hookham: Women’s History Month in Dance, 2021 115: Paris, 1936: Laurel Martin, Mrs Hookham, Margot Fonteyn, Molly Brown https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617101518192-QY4R6RWW2Q0AYBVYMR2V/IMG_7184.jpeg Essays - The ballet mother - Black Queen, Margot Fonteyn’s mother, Mrs Hilda Hookham: Women’s History Month in Dance, 2021 116: Mrs Hookham, right, behind Margot Fonteyn and Roberto de Arias in Fonteyn’s dressing room in the late 1960s https://www.alastairmacaulay.com/all-essays/d447g3lrzywbwovm5qea3ys9xn991m monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617064004774-E5O34MYQL7K8T6B7WPTO/IMG_7170.jpeg Essays - Degas’s Little Dancer, Marie van Goethem: Women’s History Month in Dance, 2021. 107: Degas’s “Little Fourteen-Year-Old Dancer”, National Gallery of Art, Washington D.C. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617064117503-85G6A476W8UA1GTW9NS4/IMG_7171.jpeg Essays - Degas’s Little Dancer, Marie van Goethem: Women’s History Month in Dance, 2021. 108: Degas’s nude study of Marie van Goethem as the little dancer https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617064178724-6WOB3WAI71IQK233ZNPL/IMG_7172.jpeg Essays - Degas’s Little Dancer, Marie van Goethem: Women’s History Month in Dance, 2021. 109: Degas’s “Little Dancer” on display in Washington https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617064237855-LZ792Z7BMHJJVO2BEZCR/IMG_7174.jpeg Essays - Degas’s Little Dancer, Marie van Goethem: Women’s History Month in Dance, 2021. 110: Degas’s sculpture known as “The Schoolgirl”, dated as 1880 and perhaps depicting Marie van Goethem. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1617064327982-QFBSL4BGXN3VCRN36EJA/IMG_7175.jpeg Essays - Degas’s Little Dancer, Marie van Goethem: Women’s History Month in Dance, 2021. 111: Degas’s “The Dance Class” of 1880 (Philadelphia Museum of Art). 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Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678179073-6N52V76BWMDBIM75QJS5/IMG_6361.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678202681-T9WVDJQIVTV81GIADT64/IMG_6363.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678225745-F01KFSKI13YVSXDDFMBS/IMG_6364.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678256927-B440T96KTTMGJIA2JQH9/IMG_6365.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678283322-YDRETGLKEHMO5TKLM21D/IMG_6369.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678304879-TI569EXHCAFMFBCZLWB5/IMG_6370.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678327241-DCG8LD8H1A7XYENW3VT0/IMG_6371.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616678357577-9MS6F3IPE3AWY9QLLOWL/IMG_6383.jpeg Essays - Carolyn Brown, partner and historian of Merce Cunningham: Women’s History Month in Dance, 2021 https://www.alastairmacaulay.com/all-essays/3wqvde4g5k1209pr4h7eumuvkodc7n monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616667524846-NRWG045YFCV48BJAOEBA/IMG_6844.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 85: Anna Pavlova as the Dying Swan https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616667924359-NGWNRGOFYMXRR81NLVOV/IMG_6388.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 86: Anna Pavlova in “La Fille mal gardée” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616667993998-IZLDR6SRGPK9RVE3MDSR/IMG_6391.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 87. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616668051959-O5PQ70LCIABRXQDJ49OY/IMG_6392.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616668142151-RWX0G65U3RCH8THRKNX6/IMG_6840.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 89: Anna Pavlova in “La Péri” with Hubert Stowitts, 1921 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616668302083-PZK1D3BR1768D09VJ5KS/IMG_6393.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616668338945-1X9QEZK54O05U5EA0UYO/IMG_6394.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 91: Anna Pavlova in her solo “The Dragonfly” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616668505649-OTT00EXHSQAKBN0X40DB/IMG_6389.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616668554590-BKZDD4GK450ZIYQ61DSY/IMG_6390.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616668667627-V5KGVBSDKIAIVM07B3XM/IMG_6845.jpeg Essays - Anna Pavlova, global missionary for ballet classicism: Women’s History Month in Dance, 2021 94: Anna Pavlova as Princess Aurora in her 1916 production of “The Sleeping Beauty” https://www.alastairmacaulay.com/all-essays/5ijikhj1um9602shxws45tp5h2fwf2 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616630143841-ZV3FOTRSHYETZLQL6V6Y/IMG_6654.jpeg Essays - Merce Cunningham, 1962, painted by Elaine de Kooning https://www.alastairmacaulay.com/all-essays/7zy7ud0g1a0a18ytxslxec6jgy4zst monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616629310576-EVRFEDOSHM76CQ0S7O9I/IMG_6559.jpeg Essays - Vera Nemtchinova and George Balanchine in the Diaghilev “Aurora’s Wedding” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616629341103-WHE389V7HQBQ0IUSMLCK/IMG_6560.jpeg Essays - Vera Nemtchinova and George Balanchine in the Diaghilev “Aurora’s Wedding” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616629368056-HNMHDEP7FW8A8HR94UFV/IMG_6561.jpeg Essays - Vera Nemtchinova and George Balanchine in the Diaghilev “Aurora’s Wedding” https://www.alastairmacaulay.com/all-essays/luh8aeqs3uq1swhsauksxyejlyb88a monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616627731650-IUUQUXNRKE1HL3QB90H4/IMG_6776.jpeg Essays - The Spanish dancer La Argentinita and a golden age of Spanish arts: Women’s History Month in Dance, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616627768119-7PAWOE947BKG9DDT3TI6/IMG_6777.jpeg Essays - The Spanish dancer La Argentinita and a golden age of Spanish arts: Women’s History Month in Dance, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616627786474-DDZ31N6OL2EI3GZXSB5T/IMG_6782.jpeg Essays - The Spanish dancer La Argentinita and a golden age of Spanish arts: Women’s History Month in Dance, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616627843037-QXI13XH60V5BM578W4WF/IMG_6799.jpeg Essays - The Spanish dancer La Argentinita and a golden age of Spanish arts: Women’s History Month in Dance, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616627863912-I7VS7EFYJMYFE3XAPHA0/IMG_6806.jpeg Essays - The Spanish dancer La Argentinita and a golden age of Spanish arts: Women’s History Month in Dance, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616627892714-YGGCD3A2HO8WH4I7XIHN/IMG_6816.jpeg Essays - The Spanish dancer La Argentinita and a golden age of Spanish arts: Women’s History Month in Dance, 2021. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616627909544-5EOCMYWXG6PU01WGEDG6/IMG_6817.jpeg Essays - 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The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 65: The premiere performance of George Balanchine’s “Serenade” in the open air at the Warburg Estate, White Plains, New York, 1934. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616364728390-OX12W0CSTM402GQZRYGU/IMG_6202.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 66: In “Serenade”, the “woman who falls over” (the Russian dancer - here Sara Leland in the 1973 film) in the first movement of “Serenade” and the corps’s semi-circular Greek-theatre formation around her. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616364828571-O514WJC8M2N1V2KBFHCV/IMG_6205.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 67: the “Serenade” corps doing staccato ports de bras around the “woman who falls over” (Sara Leland) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616364933812-LYSYB9KGXE4ZBZYZOHDL/IMG_6206.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 68: In “Serenade”, the “woman who falls over” (Sara Leland) rises as if from the dead, as if revived by the incantation of the corps’s ports de Brad. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616365075454-HWYRK4ATXV6TTPP8NPGS/IMG_6208.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 69: The dancer who died rises again: Sara Leland as the “Russian dancer” in the opening movement of “Serenade”, taking relevé en arabesque after two explosive sissonnes. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616365269120-8B32RUBURE5N97GK2H7G/IMG_6209.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 70: In the Waltz second movement of Balanchine’s “Serenade”, the heroine (Kay Mazzo), suddenly left alone by her male partner, is joined by two lines of the corps de ballet, becoming again one of a sorority, arms around one another’s waists. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616365407944-QENBIIL37CL4Q9TKL6A8/IMG_6211.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 71: At the opening of the Tema Russo (“Russian dance”) of George Balanchine’s “Serenade”, five women link hands one by one along the row. Sara Leland is at the centre. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616365493845-4R797V312OKYHYE146Y4/IMG_6214.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 72: Near the end of the final movement (the Elegy) of Balanchine’s “Serenade”, the heroine (Kay Mazzo) lies as if dead, in the same position we saw with another dancer in the first movement, like Eurydice after Orpheus has lost her a second time. A group of six women enter as if to console her in her moment of need. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616365683043-DD2VFHVL3FLYZXEH1RLB/IMG_6216.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 73: The heroine of “Serenade” (here Kay Mazzo) rises and sees a single figure (known in New York City Ballet as “the mother”), who opens her arms to summon her for an embrace. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616365798176-TXPNR8S6E6SB8KMI87DP/IMG_6217.jpeg Essays - The women’s groups of George Balanchine’s “Serenade”: Women’s History Month in Dance, 2021 74: Near the end of the final Elegy of “Serenade”, the heroine (Kay Mazzo) embraces “the mother”. https://www.alastairmacaulay.com/all-essays/zxtd521nrlplzeexny6vdq2gh3tiux monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616284092351-4QFS9NT5HO5IS1PJHE3P/IMG_6164.jpeg Essays - My wife my muse - Maria Surovshchikova-Petipa: Women’s History Month in Dance, 2021 63: Maria Surovhchikova-Petipa in 1859 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616284137883-7H94KKLVXTS22IFERYZG/IMG_6166.jpeg Essays - My wife my muse - Maria Surovshchikova-Petipa: Women’s History Month in Dance, 2021 64: Maria Surovshchikova-Petipa, in her “little muzhik” costume c.1865, with her children by her husband Marius Petipa, Marie Petipa (who would be the original Lilac Fairy in 1890) and Jean Petipa (who died in his twenties).. https://www.alastairmacaulay.com/all-essays/m6fpgn6xdhcwebsgtn79pptvixnf03 monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1616231248730-8Q2NQF1GZQ3WVVZB7F53/IMG_5976.jpeg Essays - The changing histories of three historic dancing women of the early eighteenth century: Hester Santlow, Marie Sallé, and Marie-Anne Cupis de Camargo 60: Marie-Anne Cupis de Camargo, by Nicolas Lancret. 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On the sofa, left to right: Robert Mead, Svetlana Beriosova, Nijinska, and David Blair. 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Lydia Abarca: Black History Month in Dance , 2021 Lydia Abarca in “The Combat” (William Dollar), Dance Theatre of Harlem https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613550443193-NJFDN1WVX0SV2RAJRWWG/IMG_3091.jpeg Essays - Lydia Abarca: Black History Month in Dance , 2021 Jerome Robbins coaching Lydia Abarca in his “Afternoon of a Faun”. 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Photo: Leslie E. Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613547819622-X4FXP7KYULF2LJ1XKQCU/IMG_3111.jpeg Essays - Anthony Dowell at 78: February 16, 2021 Anthony Dowell as Siegfried in the Royal Ballet production of “Swan Lake”, dancing Rudolf Nureyev’s solo in Act One. Photo: Leslie E. Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613547920288-H3EVJKX0WH1PLQLCEG6L/IMG_3112.jpeg Essays - Anthony Dowell at 78: February 16, 2021 Anthony Dowell as Siegfried in the Royal Ballet production of “Swan Lake”, dancing Rudolf Nureyev’s solo in Act One. Photo: Leslie E. Spatt. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613547955866-WGRM6HUOBAFF2ZLPAIRK/IMG_3115.jpeg Essays - Anthony Dowell at 78: February 16, 2021 Anthony Dowell as Oberon in “The Dream” (Frederick Ashton, 1964). https://www.alastairmacaulay.com/all-essays/6csitm8yle894tttza30umd8vqsyyl monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613400591981-0JPWA0GYCBVCTM8FC60V/IMG_3036.jpeg Essays - Betty Nichols - Black History Month in Dance, 14 Betty Nichols, School of American Ballet. (Photo: New York City Ballet Archives, Ballet Society Collection.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613400630464-4DWQWMP7L1KQDUDFSN3K/IMG_3037.jpeg Essays - Betty Nichols - Black History Month in Dance, 14 Betty Nichols in Todd Bolender’s “Zodiac” (Ballet Society, 1947), costume by Esteban Francés. (Photo: New York City Ballet Archives, Ballet Society Collection.) https://www.alastairmacaulay.com/all-essays/9y0evxtmb7my7ivfh4snawqb8q0osu monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613399990695-14DFXXHNDN1SF3OKXDWE/IMG_2973.jpeg Essays - Memphis jookin - Black History Month in Dance, 13 Ron “Prime Tyme” Myles https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613400031746-NQ1KW4V7JG56L5D1TQKS/IMG_2974.jpeg Essays - Memphis jookin - Black History Month in Dance, 13 Ron “Prime Tyme” Myles https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613400072787-WI1Z4YWMC3EFDS32UDHS/IMG_2976.jpeg Essays - Memphis jookin - Black History Month in Dance, 13 Charles “Lil Buck” Riley https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613400147228-HBUGLEIOKUHJACSG57HW/IMG_2977.jpeg Essays - Memphis jookin - Black History Month in Dance, 13 Charles “Lil Buck” Riley https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613400183574-6LDVUMJ8IGU05O8FICLT/IMG_2978.jpeg Essays - Memphis jookin - Black History Month in Dance, 13 Charles “Lil Buck” Riley https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613400212348-JUYB7D813Y9VOMVVGPQK/IMG_2979.jpeg Essays - Memphis jookin - Black History Month in Dance, 13 Charles “Lil Buck” Riley https://www.alastairmacaulay.com/all-essays/ybwyfu5uhwu63yy1w4e968v82kdm1v monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613245323252-H1FR6DRTA7B8994HDXSH/IMG_2116.jpeg Essays - Bronislava Nijinska’s “Les Noces”, final tableau: 1966 Royal Ballet production 12. Concluding tableau of “Les Noces”, Royal Ballet 1966 production: Georgina Parkinson as chief bridesmaid, Anthony Dowell as best man. Photo: Houston Rogers. https://www.alastairmacaulay.com/all-essays/mtspn1fa8mc0oyoixly3xkl2txtpmu monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613242780686-XGA1JOR0AV4QRM0J7H4F/IMG_2109.jpeg Essays - Bronislava Nijinska’s “Les Noces”, fourth scene, ensemble: 1966 Royal Ballet production 8: Ensemble, final scene of “Les Noces”, Royal Ballet production. Photo: Donald Southern https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613242852788-88OQ4B4WDB6ZY3GUIR2R/IMG_2110.jpeg Essays - Bronislava Nijinska’s “Les Noces”, fourth scene, ensemble: 1966 Royal Ballet production 9: Georgina Parkinson as Chief Bridesmaid in Bronislava Nijinska’s “Les Noces” with ensemble, final scene. Photo: Donald Southern. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613243297660-MC0JHS0GY60RXCPF9GR8/IMG_2111.jpeg Essays - Bronislava Nijinska’s “Les Noces”, fourth scene, ensemble: 1966 Royal Ballet production 10: Ensemble, final scene of “Les Noces”, Royal Ballet 1966 production. Svetlana Beriosova and Robert Mead in the Bride’s and Bridegroom’s little dance on the raised stage at the back. Photo: Donald Southern. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613243497101-H2Z6XP9YLCL0HH7FUYEK/IMG_2112.jpeg Essays - Bronislava Nijinska’s “Les Noces”, fourth scene, ensemble: 1966 Royal Ballet production 11: Ensemble, final scene of “Les Noces”, royal ballet 1966 production. On the raised stage at the back, the doors have opened to show the prepared bed with piled pillows: part of Natalia Gontcharova’s set. Photo: Donald Southern. https://www.alastairmacaulay.com/all-essays/yr2rhv7g5owrvma72uluvmvjlxvb67 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613241818977-OFX0549CBN19CI5SEVF1/IMG_2094.jpeg Essays - Bronislava Nijinska’s “Les Noces”, fourth scene, raised stage: Nijinska’s 1966 staging for the Royal Ballet 6. Svetlana Beriosova as the Bride, scene 4 of “Les Noces”, Royal Ballet 1966 staging. Photo: Anthony Crickmay. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613242002085-F4D4B83B858U8J0GCOEV/IMG_2095.jpeg Essays - Bronislava Nijinska’s “Les Noces”, fourth scene, raised stage: Nijinska’s 1966 staging for the Royal Ballet 7. Svetlana Beriosova and Robert Mead as Bride and Bridegroom, flanked by Gerd Larsen and Ray Roberts as the Bride’s parents and Romayne Grigorova and Leslie Edward’s as the Bridegroom’s parents. Photo: Houston Rogers. https://www.alastairmacaulay.com/all-essays/2mc66qfnhyzngsvrq7ns72qtrl11ud monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613240670470-TT5UTLY2DJQ02N0B03S3/IMG_2089.jpeg Essays - Bronislava Nijinska’s “Les Noces” - second scene: Nijinska’s 1966 staging for the Royal Ballet 3. Second scene of “Les Noces”. Robert Mead as the Bridegroom in the 1966 Royal Ballet production, with Romayne Grigorova as the Bridegroom’s Mother. Photo: Houston Rogers. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613240773808-WHBWPOP3S60NGMFYJ6W8/IMG_2090.jpeg Essays - Bronislava Nijinska’s “Les Noces” - second scene: Nijinska’s 1966 staging for the Royal Ballet 4. Robert Mead as the Bridegroom, in the second scene of “Les Noces”, Royal Ballet 1966 production. Photo: Anthony Crickmay. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613240883492-CCQKINBZRM7W73W8C45J/IMG_2092.jpeg Essays - Bronislava Nijinska’s “Les Noces” - second scene: Nijinska’s 1966 staging for the Royal Ballet 5. Robert Mead as the Bridegroom in the Royal Ballet 1966 production of Bronislava Nijinska’s “Les Noces”. Photo: Reg Wilson. https://www.alastairmacaulay.com/all-essays/cv5eha36715tgdbukq76rstinnbc2w monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613239773296-FCLQB5PD3WNEUYZD0DN7/IMG_2086.jpeg Essays - Bronislava Nijinska’s “Les Noces” - first scene: Nijinska’s 1966 staging for the Royal Ballet 1. Svetlana Beriosova, 1966, Royal Ballet, first scene of “Les Noces”. Photo: Donald Southern. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613239901096-NRBOQT0IQDSAAF0KYYHT/IMG_2087.jpeg Essays - Bronislava Nijinska’s “Les Noces” - first scene: Nijinska’s 1966 staging for the Royal Ballet 2. Svetlana Beriosova as the Bride, 1966, Royal Ballet, first scene of “Les Noces”. Gerd Larsen, left, is the Bride’s mother; Ray Roberts, right, the Bride’s father. In the pile of heads, Monica Mason is third from bottom. Photo: Houston Rogers. https://www.alastairmacaulay.com/all-essays/crzpdt0vyx3zr4pz9t14dhpkzyocnt monthly 0.5 2024-02-12 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613238215457-46RKRH15VP84L7JSMN9K/IMG_2960.jpeg Essays - Chuck Green: Black History Month in Dance - 12 Chuck Green https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613238259915-3ECG13HG0XAN1DM5KVP2/IMG_2957.jpeg Essays - Chuck Green: Black History Month in Dance - 12 Chuck Green https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613238291452-2XO5A2JZ2PWOX2CNY5FU/IMG_2954.jpeg Essays - Chuck Green: Black History Month in Dance - 12 Chuck Green https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613238312489-ZX1K0RP3AQWRB29EPZIU/IMG_2957.jpeg Essays - Chuck Green: Black History Month in Dance - 12 Chuck Green https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613238336855-LPW0BP2UN3978L1K56IL/IMG_2945.jpeg Essays - Chuck Green: Black History Month in Dance - 12 Chuck Green https://www.alastairmacaulay.com/all-essays/lc8kwci20z7cei8gdjskatwg1wppq7 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613167213973-IH1LL5SM59M95316BAT5/IMG_2407.jpeg Essays - Josephine Baker: Black History Month 2021-11 Serge Lifar (left) and Josephine Baker, probably early 1930s https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613167288977-YSONE2GCDEVB98ZLBW7I/IMG_2408.jpeg Essays - Josephine Baker: Black History Month 2021-11 Josephine Baker https://www.alastairmacaulay.com/all-essays/l2ytvtvngri3zw5pqiiqf3ngrq9f8c monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613165375982-RF905BP844KXKEE8K9L9/IMG_2674.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Syvilla Fort (back to camera) teaching James Dean at the barre, probably at the Fort-Philips Studio https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613165478038-7PRRR1ITE8HPIP9B73PK/IMG_2675.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Syvilla Fort (back to camera) teaching James Dean at the barre, probably at the Philips-Fort Studio https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613165594709-BU9AKOX6GKAF3UFIWTKD/IMG_2676.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Syvilla Fort (back to camera) teaching James Dean at the barre, probably at the Philips-Fort Studio, New York https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613165787651-1SARBGSUP8PGBQAWGDSZ/IMG_2677.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Mercier (Merce) Cunningham, Bonnie Bird, Syvilla Fort, Dorothy Herrmann, in Bird’s “Three Inventories of Casey Jones” (Cornish School, 1939) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613165951400-3IXOMN0CEMNPBK7IBPDI/IMG_2678.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Bonnie Bird, Mercier (Merce) Cunningham, Syvilla Fort, Dorothy Herrmann, in Bird’s “Three Inventories of Casey Jones” (Cornish School, 1939) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613166034047-3VZMQY31V7XGAIH5WU32/IMG_2685.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Syvilla Fort, Mercier (Merce) Cunningham, Dorothy Herrmann in their jointly choreographed “Skinny Structures” (Cornish School, 1939). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613166159362-DWDZ34JSU4HAONXIX54X/IMG_2687.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Syvilla Fort, 1940, Cornish School https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613166236364-HYML9S6OJE7JNQCQFSLW/IMG_2688.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Syvilla Fort, 1940, Cornish School https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613166326015-1CHN63RBNITYH8UHL4VA/IMG_2689.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 The Katharine Dunham company, c.1943, San Francisco, Armand Photographs. Fort is on the extreme right. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613166421817-F9ED35KA14W5AJGOI07D/IMG_2692.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Syvilla Fort in a Katherine Dunham production, 1940s https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613166621888-3DVAB5IML82IU7MXHWIK/IMG_2693.jpeg Essays - Syvilla Fort - Black History Month in Dance, 10 Peter Gennaro (left) being taught by Syvilla Fort, probably in the 1950s https://www.alastairmacaulay.com/all-essays/pikattqxegtf0023j90g2sd3g2woi5 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613117364184-2RV20D4V8S2PDCG5JQHX/IMG_2484.jpeg Essays - The juba and the American black origins of tap dance - Black History Month in dance, 9 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613117401122-JJDPXACBSE35FLWH2QTE/IMG_2485.jpeg Essays - The juba and the American black origins of tap dance - 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London Contemporary Dance Theatre https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613085192577-HIOHOUTG0QQY82KWN6T7/IMG_2405.jpeg Essays - Namron - Black History in Dance 2021 - 8 Namron - London Contemporary Dance Theatre https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613085262311-1IETPC8UGWHXH9J38OIC/IMG_2406.jpeg Essays - Namron - Black History in Dance 2021 - 8 Namron, c.2018 https://www.alastairmacaulay.com/all-essays/n7jn6qzmb9c495uf2glmwl1c2lodpw monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613083869207-Q6HCKJ0S2D2QFUH935QN/IMG_2459.jpeg Essays - Katherine Dunham - Black History Month in Dance, 2021 - 7 Katherine Dunham https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613083916801-UECEIRZI6EHXA495NO4F/IMG_2460.jpeg Essays - Katherine Dunham - Black History Month in Dance, 2021 - 7 Katherine Dunham https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613083961029-ER44WSVI1D4ZT0K18BPK/IMG_2461.jpeg Essays - Katherine Dunham - Black History Month in Dance, 2021 - 7 Katherine Dunham https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613084007815-D8KB9SIESYBQCDNJAOVK/IMG_2462.jpeg Essays - Katherine Dunham - Black History Month in Dance, 2021 - 7 Katherine Dunham https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613084056257-TW3QQ2D82M1KF65FJU8B/IMG_2463.jpeg Essays - Katherine Dunham - Black History Month in Dance, 2021 - 7 Katherine Dunham https://www.alastairmacaulay.com/all-essays/rhrzad5k4u7y0b31h771ea9uz44x1l monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613054251486-HQDWP07B4FH2A4Q2ZW31/IMG_2357.jpeg Essays - Arthur Mitchell - Black History Month in Dance, 2021 Arthur Mitchell in George Balanchine’s “Agon”, 1957 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613054341022-EOY2OFIS7CSQB690KW9N/IMG_2360.jpeg Essays - Arthur Mitchell - Black History Month in Dance, 2021 Arthur Mitchell, photo by Martha Swope (used as logo for Dance Theatre of Harlem) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613054482975-S3R995LF7BIH51VZ9ROS/IMG_2361.jpeg Essays - Arthur Mitchell - Black History Month in Dance, 2021 Arthur Mitchell partnering Allegra Kent in George Balanchine’s “Agon” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613054563010-IN4Z6NCKGRQ8UJYKAY0Q/IMG_2362.jpeg Essays - Arthur Mitchell - Black History Month in Dance, 2021 Arthur Mitchell in the Phlegmatic solo of George Balanchine’s “The Four Temperaments” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613054631812-MCSM3MTI9Y8K94MMYVVA/IMG_2363.jpeg Essays - Arthur Mitchell - Black History Month in Dance, 2021 Arthur Mitchell as Puck in George Balanchine’s “A Midsummer Night’s Dream”, 1962 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613054702856-GFIHWCYN7QEWLN5WVJD3/IMG_2364.jpeg Essays - Arthur Mitchell - Black History Month in Dance, 2021 Arthur Mitchell with young students at the Dance Theatre of Harlem school https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613054789821-H53DG6BDGDZ7BBS9E9VO/IMG_2365.jpeg Essays - Arthur Mitchell - Black History Month in Dance, 2021 Arthur Mitchell; photograph by Debra Seibert https://www.alastairmacaulay.com/all-essays/kjfrvw0zg7bde47mk1nxol64inpkfd monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613047968794-JGI6Z5ZBYV71HRNTJUZ4/IMG_2307.jpeg Essays - John Jones - Black History Month in Dance, 2021 John Jones and Kay Mazzo, Ballets USA, 1961, in Jerome Robbins‘s “Afternoon of a Faun” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613048035098-JG26BKRW9HLQX2P4EOQY/IMG_2306.jpeg Essays - John Jones - Black History Month in Dance, 2021 John Jones and Kay Mazzo, Ballets USA, 1961, in Jerome Robbins‘s “Afternoon of a Faun” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613053557432-TJHGVYGLJHXLQIDXIKK1/IMG_2317.jpeg Essays - John Jones - Black History Month in Dance, 2021 Wilma Curley and John Jones, Ballets USA, 1959, in Jerome Robbins’s “Afternoon of a Faun” (1953). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613053655413-KWGBHIBBOQYIR9ME5YLB/IMG_2318.jpeg Essays - John Jones - Black History Month in Dance, 2021 Wilma Curley and John Jones, Ballets USA, 1959, in Jerome Robbins’s “Afternoon of a Faun” (1953). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613053690682-8582R0RD7ZXNHZ7ARH26/IMG_2319.jpeg Essays - John Jones - Black History Month in Dance, 2021 Wilma Curley and John Jones, Ballets USA, 1959, in Jerome Robbins’s “Afternoon of a Faun” (1953). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613053761673-N098QVOV2T6GRX9998ZM/IMG_2320.jpeg Essays - John Jones - Black History Month in Dance, 2021 John Jones, Ballets USA, 1959, in Jerome Robbins’s “Afternoon of a Faun” (1953). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613053812523-F6DVVDEDRHVYWHGSTQH0/IMG_2321.jpeg Essays - John Jones - Black History Month in Dance, 2021 Wilma Curley and John Jones, Ballets USA, 1959, in Jerome Robbins’s “Afternoon of a Faun” (1953). https://www.alastairmacaulay.com/all-essays/ewwdj2timwxpadxcrm3hzlkifq8540 monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613043814212-9WOXCDFTRP52GTKV76R1/IMG_2139.jpeg Essays - 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1 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1613038934913-VKXU9ZR6IQW7QFK5DGDR/IMG_1926.jpeg Essays - Johaar Mosaval- Black History Month in Dance, 2021 - 1 Johaar Mosaval https://www.alastairmacaulay.com/all-essays/giselle-questions-answers monthly 0.5 2026-01-23 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634315077913-02HE8BXET1HNO6MNZF44/8BFEFDF6-BA73-41C3-8471-92B6BE039FAC.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 1: Olga Spessivtseva in live 1932 performance at the Savoy Theatre, in the opening arabesque of Giselle’s Act One variation. From a live film. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634315356704-1SRQ11ID4BC74XJEH2WG/37E49AF1-08BF-4C40-95BF-31BBC71A83EF.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 2: Alicia Markova in the same opening arabesque of Giselle’s Act One variation, with the Markova-Dolin Ballet, 1935-1937 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634315613407-BGSHEYEL5I4W167Q73RJ/2B55B7B1-65A6-4435-8DE3-148434869DA7.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 3: Margot Fonteyn in 1937 in the same opening arabesque of Giselle’s Act One variation. Studio photograph by Gordon Anthony at the time of Fonteyn’s debut on the role at Sadler’s Wells with the Vic-Wells Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634315722027-6RMK9EMX2DXMFSR9XEX8/DC98E295-AB5B-4541-857F-5AA95D4D54EC.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 3: Olga Spessivtseva: a studio image of Giselle in Act Two. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634315811964-KVHUS65S52FCLNZZNWGL/E9C41FB3-D353-4F25-979F-A1E846CC1FB5.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 5: Margot Fonteyn in Act Two of “Giselle” at the Paris Opéra, 1967. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634315890276-G4ODW4W46LBG5C6XEI48/1F392629-A18E-4515-9C6A-1ACEC7973683.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 6: A sketch of one of the final moments of the original “Giselle” at the Paris Opéra, 1841. Giselle bids farewell to Albert as she sinks into a flowery knoll, while Wilfride and Bathilde appear in the forest at dawn. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634316024187-2Y4Z3I9M6HSR3BHVV5GN/AB8308B7-226A-4D8D-B60A-95A9C44A0DC7.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 7: Robert Helpmann as the now dead Albert (Albrecht) at the end of Act Two of “Giselle”, with Wilfride (Wilfred) and huntsmen finding his corpse at dawn. Vic-Wells Ballet, before 1944. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1634328325173-CJX1M50RONPKD9M36LVP/AF81E745-D982-4753-B0CC-D02E505B2A25.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - Make it stand out 8: Satiric 1841 sketch of Giselle falling into the soil while Albert looks aghast. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/06d6a74a-0d55-465d-b745-add5da027540/D8340485-F3F2-48C4-98D3-1B325F44DDE1.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 9: The arabesques voyagées (nicknamed cow-hops) of the corps de ballet of wilis in Act Two of “Giselle” as performed by Pacific Northwest Ballet in the production by Peter Boal, Marion Smith, Doug Fullington as revised in 2014. In pre-1985 performances by the Royal Ballet, the line of the wilis’ torsos and heads was yet lower. Photo: Lindsay Thomas. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5617d07f-b830-492f-acc9-23b146ccd785/13D0339B-8056-47A9-BB91-C149D050E8A5.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 10: In Alexei Ratmansky’s 2019 production for the Bolshoi Ballet, Myrtha sustains an arabesque, echoed by the wili corps de ballet, as she summons Giselle up from the grave. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/afb2096e-46c5-4035-a95f-f81b9845db4b/652585C9-7A63-4320-A9E9-8EFC2D2187AE.png Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 11: Myrtha summons the wili Giselle to stage center in Alexei Ratmansky’s 2019 production for the Bolshoi Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/03c68f2f-f10e-463b-831d-097fa33051f7/C73CA329-E2A3-4651-B589-1494F55DFAE8.png Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 12: Giselle the wili bows in révérence to her queen, Myrtha, just before commencing her wili debut solo in Act Two of Alexei Ratmansky’s 2019 production for the Bolshoi Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b7b26757-2d05-4b28-8116-6d4bda997d52/4C75C565-09E0-47D3-A265-5DA6E1268ABF.png Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 13: a cross formation for the wili corps de ballet in Act Two of Alexei Ratmansky’s 2019 production of “Giselle” for the Bolshoi Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/05f14c1c-1981-46ca-9d48-5c9032c7eb8e/F3D6863F-3FC5-4B8A-82AC-8853E33B4CF6.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 14: Myrtha leads Giselle away from the power of the cross, and from Albrecht, in Act Two of Alexei Ratmansky’s 2019 production of “Giselle” for the Bolshoi Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/090265b2-7b9b-46ac-977b-a5b385e7776b/B4CBBE6B-55CF-4AF8-ACA0-14F59274FD28.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers 15: Myrtha commands Giselle to dance and thus to lure Albrecht from the sanctuary of the cross, in Act Two of Alexei Ratmansky’s 2019 production of “Giselle” for the Bolshoi Ballet. The designs are based on those made in 1910 by Alexandre Benois for Diaghilev’s Russian Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fbf1bb76-7140-44bf-aab7-563de4a5eaa7/29921D94-F28C-4F32-979F-8B67AA076818.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers 16: Albrecht now partners Giselle, flanked by the wilis, in Act Two of Alexei Ratmansky’s 2019 production of “Giselle” for the Bolshoi Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/aea494b6-b4e2-4111-b0ff-ee168ec401e2/952F12F5-976B-487D-8A31-A07B51601A65.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 17: Albrecht lifts Giselle overhead in Act Two of Alexei Ratmansky’s 2019 production of “Giselle” for the Bolshoi Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bbf6c913-4180-4121-b211-a24ad037cd30/880F4B48-C130-48D6-8734-0287B74925F2.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers 18: Giselle and Albrecht, dancing for the wilis until dawn, end their first pas de deux, she kneeling with her hands covering her tears, in Act Two of Alexei Ratmansky’s 2019 production of “Giselle” for the Bolshoi Ballet. Screen-capture photograph. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f31872db-fd3c-48e9-8f1f-3fde303e9459/B38835CC-C447-49DC-926E-40EC70CACFB3.jpeg Essays - Giselle: Ninety-Seven Questions, with Hundreds of Answers - 19: As Albrecht (Jérôme Tisserand) lies exhausted on the ground, Myrtha (Carrie Imler) and Giselle (Kaori Nakamura) are both struck by the sound of the church clock announcing four and therefore dawn, in Act Two of Peter Boal’s 2011 production for Pacific Northwest Ballet, on which Marian Smith and Doug Fullington were artistic advisors. Photo: Angela Sterling https://www.alastairmacaulay.com/all-essays/tradition-and-the-royal-ballet monthly 0.5 2021-12-21 https://www.alastairmacaulay.com/all-essays/margot-fonteyn-on-dvd-strong2020i05strong monthly 0.5 2021-08-29 https://www.alastairmacaulay.com/all-essays/merce-cunningham-centenary-essay monthly 0.5 2021-08-29 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606229522753-OFZY8T8OV3WPNS6W0YZS/IMG_7812.jpg Essays - Merce Cunningham: centenary essay https://www.alastairmacaulay.com/all-essays/the-royal-ballet-forty-years-on monthly 0.5 2021-12-21 https://www.alastairmacaulay.com/all-essays/stgba4kej960zatygdbfjjo0akr2vb monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1621555781744-IT1KUFHSUIRHT1M3ZUPR/IMG_2959.jpeg Essays - Margot Fonteyn - a centenary address, 20 May, 2019 Margot Fonteyn in Frederick Ashton’s “Scènes de ballet” (1948) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1621555825823-2DX2A7LFI8V0PB9MWZXH/IMG_2958.jpeg Essays - Margot Fonteyn - a centenary address, 20 May, 2019 Margot Fonteyn as Chloë in Frederick Ashton’s “Daphnis and Chloë” (1951). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1621555986871-KBRPDXD1ZGUIJRBV4IK0/IMG_2957.jpeg Essays - Margot Fonteyn - a centenary address, 20 May, 2019 Alastair Macaulay (left), delivering this address to the London Ballet Circle, 20 May 2019. His panelists, seated facing the camera, are, left to right, Wayne Eagling; Monica Mason; Peter Wright; Donald MacLeary; Merle Park; Alfreda Thorogood. https://www.alastairmacaulay.com/all-essays/margot-fonteyn-and-classicism monthly 0.5 2021-12-21 https://www.alastairmacaulay.com/all-essays/y1ra81n7bcpa4hp1y15cilgi85qx5a monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ee41c4d7-f5e4-4d5a-9f0e-66886b2505ad/050CA77E-A851-458C-9ABA-C3270B495515.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 1: Antonio Canova, “Psyche Awakened by Cupid’s Kiss”, 1787, first version, commissioned by Colonel John Campbell, now in the Louvre Museum, Paris. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b0eedecd-d74c-41a9-a3c9-214ea0d04475/4DAF3FC8-B6F7-463E-92C4-B5BBD5A1998A.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 2: Hugh Douglas Hamilton, pastel, “Antonio Canova in his Studio with Henry Tresham and a plaster model for ‘Cupid and Psyche’,” 1788-1791. Victoria and Albert Museum, London. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a57e6ac4-dbd5-4831-a922-81e62240a6b0/9543C1E1-04B4-4BFD-BB83-BB80DF8C42BA.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 3: Antonio Canova, 1794 plaster model for second version of “Psyche Awakened by Cupid’s Kiss”, in Metropolitan Museum, New York, since 1905. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d148a527-0d19-4d66-b52e-9866dcdda58d/4E985F6B-F9C1-499F-B9FE-A67D70EB8ABF.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 4: Canova, second marble version of “Cupid Awakened by Psyche’s Kiss”, 1796, commissioned by Prince Nicolai Yousupov (1750-1831), now in Hermitage Museum, St Petersburg. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/7e59d95c-7399-4ba4-bf2e-e469a12507fe/88F09834-AFB8-4192-B8B9-FC581189B080.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 5: As captioned, the first known photograph of George Balanchine working with American dancers before the first performances by the School of American Ballet at White Plains, New York State, June 1934. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d1d15593-641c-4e28-bcbc-ab69e690d6a3/24BF1AA7-3259-4B17-B85A-72BDF0F33DF8.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/18b2258a-fe4e-45e6-b347-f83ffff10531/2DED838E-385F-47DC-A78C-A40988B68233.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/67173c82-10c5-4d66-868c-0ad1377db364/F4F771AD-7AF2-4FBB-B229-AC340DFD2560.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/0f721e77-0064-4fe2-aeb0-972446dc71ea/9FB2A363-BE3A-4151-B364-557C7CEA3792.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/4a7faf8f-9633-4d35-be33-ce2bfc6a5400/8A77046C-64AE-4131-B65B-A8C0275CF0B9.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/048aafab-7034-4109-bc5b-eba5143a4fc3/63EBC48D-BB35-43D5-8BBE-3594B938A169.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/995bc267-d2c7-4915-81b0-ae8f13b01b24/ECEF350F-C8AA-4C33-9B07-F2123E52DDF7.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/370232de-d010-439c-a6ab-525cd1aca03a/0C47BFC7-A1D4-49F9-900A-2B0BA991EEE7.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/65157f5a-bc9d-4913-8d78-1841b875b406/591CFF6C-1B4B-4549-BE9C-B6AE4247B6BC.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/42a22ab4-1d78-4b60-ba18-8f5df79b07db/51993DA4-20B5-4092-BEC2-2A328AA4140F.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/341f795f-68ca-4bd0-9417-184f0557cfe0/E0625364-FAD7-45C3-9FB3-3EC6F8DF31EE.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d43fac35-c140-47c0-b535-34c4091c8b6a/3F18F84A-C8D7-48E8-B52F-915842B6D3E5.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 6-17: The Warburg home and estate, White Plains, New York, where Balanchine’s Serenade was given its first performance by the School of American Ballet in June 1934. Photographs taken by Paul Boos in summer 2019. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/2fefcdd0-8502-42cb-b29f-6a0c5e875019/BF481D34-136D-409C-8490-70C83031771A.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 18: A rare action photograph of the first - open-air - performance of Serenade at White Plains, New York State. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8fe5fa4f-72bc-4317-91f8-2a64be4c7d44/46131965-ED15-49C3-A077-132B6A43464F.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 19: Another live photograph of the open-air premiere of Serenade, from the collection of Joan McCracken, one of its original cast, with her written identifications below. Courtesy: Sharon Skeel. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/28141558-8d1b-4405-ba49-fc2a157dcdf9/99F95202-31E4-4E35-BC6C-877B1B32737F.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 20: The Nazi salute in a 1933 German rally. Ruthanna Boris - a dancer who became a member of the original 1934 School of American Ballet cast of Serenade and who in 1944 danced its leading role with the Ballet Russe de Monte Carlo - later recalled that Balanchine mentioned and demonstrated the Hitler salute in his first rehearsal for Serenade, then deliberately adapted and transformed it to create the ballet’s opening gesture . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9d654786-acde-4de0-a04b-3eb4a9a627ab/289889A7-C387-4861-8A96-37A5D1FF2137.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 21: Could the Nazi salute have been inspired by this Paris 1924 poster image for the Olympic Games? My thanks to Jared Angle for drawing this to my attention: https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6388ebf6-7f7c-431a-a5c9-65bad0d67f80/B788D6CD-0292-4B96-B9F2-69149E0DDB80.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 22: The poster image (21) became a stamp. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/41ade88d-ce81-4726-95f9-ba3fe2686393/73869031-A026-4D24-BBC8-1E9A9BDFFEBE.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 23, 24: In 1935, the painter Jean Lurçat designed the first permanent costumes for Serenade, costumes that were used for most (not all) productions of the ballet until 1947, notably those by the American Ballet as seen in New York in 1935 and the Ballet Russe de Monte Carlo in 1940-1948. But there appear to have been several different versions of Lurçat’s costumes. Image 23, donated in 2016 by Nancy Lassalle to the Dance Division of the New York Public Library for the Performing Arts, confirms one report of red/russet colours being used; image 24 shows two shades of blue, the colour with which Serenade subsequently became identified. Black-and-white films of the Ballet Russe de Monte Carlo show different costumes in 1940 from those in 1944: one set of them have small capes from the women’s shoulders. It’s possible that the costumes were differentiated, not uniform for all dancers; it’s also possible that Serenade had three different groups of costumes, one for each movement (Sonatina; Waltz; Elegy) until Balanchine added the Tema Russo and gave continuity to the four movements in 1940. Photo: Robert Greskovic. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d3fe8f34-231a-4124-a228-6be93890fd7f/BE9C6EC7-C65A-4B4B-AA20-A74BDCF08FCC.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 24: Another costume design for Serenade by Jean Lurçat. The resemblance to the costumes seen in 25 is evident but not exact. Photo: Robert Greskovic. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/21d9a9ac-a41a-45d0-9f5d-4ac1b1224c8f/15392DD7-4F98-4892-8164-D03DFC947E65.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 25: There are many points of interest in this 1935 photograph of Serenade with American Ballet dancers who gave its first New York City performances at the Adelphi Theatre that year. Left to right, the dancers are Annabelle Lyon, Ruthanna Boris, Helen Leitch, Holly Howard, Elise Reiman. Their knee-length dresses are similar to those in 24. To those who know Serenade today, this line of five women suggest either a fleeting line of five seen in the Sonatina or the five woman who open the Tema Russo (Russian Dance). In 1935, however, the Russian Dance had not been choreographed. Probably this group shows instead the opening dance of the Waltz, which in 1934-1935 began with five women. (Only in 1936 was a man added to the Waltz.) Serenade as we now know it abounds with you-saw-it before echoes; it’s not clear whether these echoes were already part of the 1934-1935 choreography. Annabelle Lyon later recalled that Balanchine asked all seventeen women in the Sonatina to execute thirty-two fouettés, but that she, trained by Mikhail Fokine, was unable to do those; Balanchine therefore had her leave the stage just before that passage. Improbable as it may seem that sixteen dancers could perform thirty-two fouetté turns together, Lincoln Kirstein confirms this aspect of the original choreography in his 1939 Alphabet of Ballet. Lyon also said that Balanchine spoke of choreographing the Tema Russo (Russian Dance) with her, but lacked the resources. Ruthanna Boris, another member of the original 1934 cast, danced in Serenade for many years. In 1944, she danced the lead role in all four movements with the Ballet Russe de Monte Carlo production. There are film excerpts of her doing so in Chicago, recorded by Ann Barzel. Holly Howard was widely known as Balanchine’s first American girlfriend, although Heidi Vosseler may have preceded her. Lincoln Kirstein’s diaries record that Howard later became pregnant by Balanchine. Other enduring rumours tell of her having no fewer than four abortions, but she went on dancing in successive Balanchine productions. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/a37dba95-010a-44cf-8473-11ab27ff5316/4AB20060-FDC3-4F8C-A87B-00036D4B04F5.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 26: This photograph of a famous configuration in the Elegy shows a 1935 cast from the American Ballet’s season at New York City’s Adelphi Theatre. Left to right, Katherine Mullowny (the original “Dark Angel” in 1934), Hortense Kahrlinsch (in the role now given to the “Russian” dancer), Charles Laskey (the first man to attend Balanchine’s 1934 rehearsals and a figure in other new Balanchine choreography), and Elena de Rivas (in the role Balanchine had created for Heidi Vosseler in 1934). Mullowny names were spelt many ways in 1934-1935 programmes, including Catherine Maloney. Decades later, she recorded an oral history for the Dance Division of the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b4af0b3c-1757-4c84-80e4-4fe1602f1b75/B122451C-723F-41BA-A0DF-1C3BBB3F4631.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 27: The opening image of Serenade in the oldest film footage of the ballet, taken in Chicago by Ann Barzel in 1940, showing the Ballet Russe de Monte Carlo. The hair-braids confer a certain uniformity of coiffure. The costumes seem to be variants of those by Lurçat in 23 and 24. The film, which shows excerpts of all four movements in the year when the Russian Dance (Tema Russo) was added, is in the collections of the Newberry Library in Chicago and the New York Public Library for the Performing Arts. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/6e2efaae-1dcc-4fd1-a23d-672eb6f67808/A2E98464-1494-4EE2-B2D3-00677BE7C7B2.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 28: This photograph of the American Ballet in the American Ballet’s 1941 tour of South America shows the ultra-short costumes designed by the Brazilian painter Candido Portinari (1903-1962), used only for that tour. This grouping, often photographed over the decades (see 18), is one of the earliest in the Sonatina. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b31ed227-da51-4d45-aa8e-7425752d67bb/8F354B0D-DBBF-447A-8F90-6ADEBF2E6216.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 29: This photograph of the opening image of Balanchine’s 1947 Paris Opéra production of Sérénade shows the designs by André Delfau. The women, as in Balanchine’s Scherzo à la Russe, wear little hats with trailing veils; they also wear long gloves and short skirts. Of especial interest here is the statue of Eros on a plinth, surely referring back to Fokine’s baller Eros, choreographed in 1916 to the same music in St Petersburg and danced in 1923 by a cast including friends of Balanchine. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/59961e91-b596-4e32-9386-00a680ee313a/9FC845C4-D8F4-4C64-B56C-10D751102341.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 30: This photograph of the Paris Opéra Sérénade, clearly showing the costume’s use of a veil down the back from the hat, shows Christiane Vaussard with Michel Renault. They are surely in either the Valse or Tema Russo. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/521dbd0b-b053-41f7-adac-26bff8d1e18a/E167F60F-B646-4752-B748-26E494D52C53.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 31: This photograph of the Élégie in the 1947 Paris Opéra shows just how differentiated the costumes for the heroine (Christiane Vaussare, left) and “Dark Angel” (Denise Bourgeois, right) were. The male dancer here is Max Bezzoni. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/79edf4c8-34da-4567-8eed-4b98ad150c8a/11F80280-0296-4B75-9B53-AF69D7DDEEF4.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 32: Bourgeois, Bezzoni, and Vaussard in the Élégie of Sérénade, Paris Opéra, 1947. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fd65124b-56e1-4e0b-9977-1ebe863afbe8/04089758-F252-4C2E-881C-F3B467DD3AD5.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 33: The young New York City Ballet initially presented Serenade in 1948-1950 without any credits for costumes. Yet the male dancer wore the same attire, with embossed gold chain around the neck, as was later credited to Karinska’s 1952 redesign. Here, in a 1948 photograph, Pat McBride (“the original Pat McBride”) holds the Dark Angel’s arabesque, partnered by Frank Hobi, while Melissa Hayden is the heroine on the floor. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/b42fe735-d807-4648-8a32-d4ede0fc70ef/3B82C53E-897C-40E1-89E0-6F50D156D484.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography 34: McBride, Hobi, and Hayden in the Elegy, 1948. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/964f2f16-f871-47d3-b0b3-d64382dc82c9/D3E29E0B-DCEF-4856-B236-B22C231C1E33.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 35:McBride, Hayden, and Hobi in the Elegy. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/13d5875e-9743-40c8-a344-37ddea6817d6/1CB5ABA4-610B-4305-8801-C2B2FC3DC774.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 36: The Elegy at New York City Ballet in 1948-1950. The male dancer here is Nicholas Magallanes, who danced this role from 1944 (Ballet Russe de Monte Carlo) to the early 1970s. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/ee417bb5-b19e-41de-9a21-42f299b14f17/815DAF0C-2BB3-4A52-970B-BB55A7F294C1.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 37: The Elegy in Serenade at New York City Ballet in 1948 with Hayden, Hobi, and McBride. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8f28784c-81c7-4943-bc8a-d49dd1f39fab/81BD6DC0-BAA0-473C-B461-B35255DEABD2.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 38: Only in 1950, at the urgent suggestion of Frederick Ashton (in New York to create Illuminations for New York City Ballet early in the year - he, probably reminded of Balanchine’s Errante, asked for Serenade to be in “flowing robes l, does Balanchine finally dress this masterpiece in calf-length skirts. Costumes remain uncredited. This studio photograph of María Tallchief with Nicholas Magallanes suggests a blue net skirt over blue tights and blue leotard for the woman while the man wore the same blue outfit with embossed gold chain at the neck as in 33-37. Other photographs of the 1950-1951 period and some film clips, however, suggest that the women wore dark, even black, net skirts over paler tights and blue leotards. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/bb9321ac-dd48-4322-8f4a-b94cc711f323/C56DDEE4-1C84-40E7-B0FA-1D6DB3062FAD.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 39: Finally the ballet is redesigned in 1952 by Karinska (who is credited) in the dresses that have been associated with it ever since. This photograph of Melissa Hayden, who danced several of its leading roles, shows how well the dresses permit jumping. As designed in 1952-1963, the dresses have emphatic brassieres; they also are even longer at the back than at the front; and they have slanting waistlines. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/3434982f-8341-434e-a116-1ed9427d6a44/78928BC3-E168-4883-8555-F7B12FF7E666.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 40: This specially designed page in Lincoln Kirstein’s New York City Ballet (1973) shows the 1952 costumes. The central photograph also shows perhaps the most remarkable moment in all the ballet, in the Sonatina, when a soloist falls to the floor centre-stage (this is the original “girl who fell down” reference) while fifteen other women enter from different corners and create a highly formal geometry around her before executing formal ports de bras. Early photographs and films (before 1948) show that the soloist used to lie as if dead or prepared for burial. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8705e58a-933f-4631-b087-3761a77b7fc6/C79D0BE6-1F4C-4BE4-A37D-248E08ED237D.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 41: The Karinska dresses transform several of Balanchine’s most-photographed configurations. See 18 and 28. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/240523da-6414-468f-b483-45c3a5a04be6/AAFA55BA-E128-45A5-8417-36B5CB32243D.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 42: Melissa Hayden with partner in a passage of the Tema Russo. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/fb8a8b98-a8d0-459f-a633-0f7cc5c956fd/2185CAB5-22D2-45F2-8871-1FF3E8172F6A.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 43: Another of Serenade’s most-photographed configurations is again transformed by the Karinska dresses. See 26, 36. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e02dc949-b0a0-4159-a1b0-5976adc8be6c/38B57601-87E8-42F9-8C84-AB9184CCD333.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 44: In May 1964, Balanchine goes to London to help stage Serenade for the Royal Ballet. The costumes were not credited to Karinska until 2008, but are along Karinska lines; the men are in blue tights with embossed gold chains around the necks (a pre-Karinska effect). In this photograph, Balanchine poses with the leading four dancers of the Elegy: Annette Page (left, “Dark Angel”), Nadia Nerina (centre), David Blair, and Svetlana Beriosova (right). Balanchine has choreographed a central role for Beriosova in 1950 (Trumpet Concerto) before her eighteenth birthday; she has danced both soloist and ballerina roles in his Ballet Imperial at Covent Garden. Earlier in the 1960s, he applied for her to spend six months as a guest with New York City Ballet; negotiations failed when she insisted on bringing her partner. Nonetheless she was in the Royal Ballet first casts of Serenade (1964) and Apollo (1966). . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/d190cfad-1c88-4a77-8ba3-605635ed1712/9D60F31A-9CFC-4C56-8B03-B3415530F99A.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 45: The Karinska dresses also transform the ballet’s opening ritual. The lighting by Jean Rosenthal and her successors has fixed the moonlight look of the ballet’s stage world: Balanchine says simply that it is a “serenade… to the light of the moon”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8be73c5a-1e2e-4c30-ab3b-6282c0a69c07/5210D5F4-F13A-4D22-9853-0FBC6A724286.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 46: This upstage diagonal corner configuration, occurring early in the Sonatina, is like nothing else In Balanchine, with the women all arching back in closely banked rows. The arrangement closely resembles one given by Bronislava Nijinska to four rows of men in the second scene of Les Noces (1923). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/98bf352c-ad97-4672-881b-5c64063ac5a5/8B31D586-7673-4B3F-AE38-46D493215BA4.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 47: In 1976, Balanchine makes the last and most controversial of his important revisions to Serenade, making adjustments to the choreography for the four leading figures of the Elegy but above all having the lead three women loosen their hair. (This is a return to a brief-lived attempt in 1944 to loosen the hair of the leading two women, also from the start of the Elegy. This can be seen in Ann Barzel’s 1944 Chicago films of the Ballet Russe de Monte Carlo.) During his lifetime, Balanchine asked no other company to follow suit. Since his death, most have; but some still dance the Elegy with hair up, preserving the overall anonymity of Serenade established since its beginning.) The cast with whom he first rehearsed this was Karin von Aroldingen (as the Elegy heroine), Kipling Houston (as the Orpheus figure who partners her), María Calegari (as the “Dark Angel”) - photographed here - and Colleen Neary (as the “Russian dancer”). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dc516d53-0855-45dc-b19d-90404e63738f/8570004A-79C0-4590-8EFD-EF7D323F5B0F.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 48: María Calegari as the “Dark Angel”, with loose hair, is supported in arabesque by Kipling Houston. (See 47.) The heroine on the floor may perhaps be Kay Mazzo. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8983fdaf-efeb-4634-a833-0a1bce1acae1/146B0FB6-57D7-4541-81FE-9CBFB44F6C04.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 49: In the final section of Serenade, six dancers bourrée on the spot in circles, with fourth-position arms, as if blown by the impetus of the heroine’s rush downstage to embrace her “mother”. They are not required to bourrée or turn in synch with one another; and this relative freedom makes this moment unusual within both Serenade and all Balanchine. This photograph was taken by the choreographer Troy Schumacher. The “heroine” (probably Sara Mearns) and “mother” can be seen in their embrace. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/9c163d12-b15e-4e50-9da5-e2eda850ba55/CA025250-5B6B-4B1C-A996-D903B46B8E4E.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 50: As she is lifted away at the end of Serenade, only the heroine has loose hair in the new 1976 revision. This apart, it is remarkable how little the ballet’s ending has altered. A 1940 film of Nathalie Krassovska shows this ending to be virtually identical. Details of the final gesture and port de bras performed by the heroine as she is borne away have sometimes been revised, but her backbend is the same. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1b432ef1-75b6-43a8-915b-7a0c5062e38f/3BF62D7F-8FF2-4184-88A0-596584F4E9C0.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 51:This photo of the fourth point of the Serenade opening ritual is by Fred Fehl, showing young dancers (probably all in their teens) of the Ballet Russe de Monte Carlo, from either fall 1946 or some point in 1947. The dancers are identified as, left to right, Merriam Lanova, Bernice Rehner, Myrna Galle, Sonja Taanila, Patricia Wilde, Constance Garfield, Joy Williams, and Pauline Goddard. All of them - see Jack Anderson’s book The One and Only: The Ballet Russe de Monte Carlo, with its useful appendices - joined the Monte Carlo in 1945 or 1946; Serenade, absent for the 1945-1946 season, was revived in 1946; thanks to an injury, Joy Williams did not dance with the Monte Carlo after 1947. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/f1f12318-2d2f-4621-8b81-c29b3940e246/8230916F-2E41-462A-8F32-5FE91C843E07.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography - 52-53: Melissa Hayden, Nicholas Magallanes, and Maria Tallchief in the final Elegy of Serenade in 1950. These photographs by Baron was taken in London, during or immediately before New York City Ballet’s 1950 six-week season at the Royal Opera House, Covent Garden. It clarifies the nature of the net skirts - matched here by the net attached to the women’s chignons - that were the first, in these 1950-1951 pre-Karinska designs, to make this a ballet of “Romantic” skirt length. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e5a24a6c-1d36-4337-b62c-5e07778593e6/C772A803-92B1-475D-8EDD-AC3FE65D983E.jpeg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/8303c7f2-21ca-4d10-84e4-71cc836649d2/IMG_4413.jpg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/e21a8c9c-8275-421d-b2db-969793de5033/662f0d4f-e0c8-45f3-b2f0-adcf2534deaa.jpg Essays - The genesis of Balanchine’s “Serenade”: a chronology and bibliography https://www.alastairmacaulay.com/all-essays/the-unstuffy-gala-city-ballet-delivers-youth-and-style monthly 0.5 2024-09-03 https://www.alastairmacaulay.com/all-essays/ballet-after-balanchine-3-choreographers-lead-the-way monthly 0.5 2024-09-03 https://www.alastairmacaulay.com/all-essays/justin-pecks-decalogue-pushes-into-new-ballet-forms monthly 0.5 2024-09-03 https://www.alastairmacaulay.com/all-essays/utkeiypp64xvbxlj2pykvqm6inm2p1 monthly 0.5 2024-08-24 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1625570095840-0QAPKIBQJNW2VMEJSP7P/IMG_0316.jpeg Essays - Nijinsky’s notation for “L’Après-midi d’un faune”: a conversation with Ann Hutchinson Guest and Claudia Jeschke 1: Vaslav Nijinsky as the faun in his 1912 “L’Après-midi d’un Faune”. Photograph by Adolf de Meyer. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1625570180596-L187GEOH9FU4OQB3F5F7/IMG_0317.jpeg Essays - Nijinsky’s notation for “L’Après-midi d’un faune”: a conversation with Ann Hutchinson Guest and Claudia Jeschke 2: Vaslav Nijinsky as the faun in his 1912 “L’Après-midi d’un Faune”. Photograph by Adolf de Meyer. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1625570204090-46F11CG1WRVNF10J73IV/IMG_0319.jpeg Essays - Nijinsky’s notation for “L’Après-midi d’un faune”: a conversation with Ann Hutchinson Guest and Claudia Jeschke 3: Cover of Ann Hutchinson Guest’s Noverre Press edition of Nijinsky’s notation of “L’Après-midi d’un Faune”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1625570293112-WBACPDQ9J2AF64V7NXCS/IMG_0318.jpeg Essays - Nijinsky’s notation for “L’Après-midi d’un faune”: a conversation with Ann Hutchinson Guest and Claudia Jeschke 4: The Dance Books edition of Adolf de Meyer’s photographs of “L’Après-midi d’un faune”, with essay by Jennifer Dunning and contributions by Richard Buckle and Ann Hutchinson Guest https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1625570494018-BIB0LG55IFTS5BCXB4GM/IMG_0320.jpeg Essays - Nijinsky’s notation for “L’Après-midi d’un faune”: a conversation with Ann Hutchinson Guest and Claudia Jeschke 5: Faun and nymph: Lydia Nedilova and Vaslav Nijinsky, 1912, in Nijinsky‘s “L’Après-midi d’un faune”. Photograph: Adolf de Meyer. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1625570603406-UCHM05UTY45TPFRXYLY6/IMG_0321.jpeg Essays - Nijinsky’s notation for “L’Après-midi d’un faune”: a conversation with Ann Hutchinson Guest and Claudia Jeschke 6: Vaslav Nijinsky in the final sequence of his “L’Après-midi d’un faune”, 1912. 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Michael Bryant as Charon, the ferryman of the dead, with John Wood as AEH in the 1997 production of “The Invention of Love” by Tom Stoppard, directed by Richard Eyre. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/5d1b6156-9027-4ac5-8753-eca79934c16b/D95D027E-9C45-4194-B8DE-FF5AE57F2877.jpeg Essays - Inventing Love: Tom Stoppard, A.E.Housman, and the Classics - 4. Paul Rhys, as Housman, with John Wood, as AEH in the 1997 premiere of Tom Stoppard’s “The Invention of Love”, directed at the National Theatre by Richard Eyre. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/dc3c8484-5aa1-4ef3-87dc-4eb774b2fc8b/FFD72C45-514A-4446-8C18-06C0E8D4D673.jpeg Essays - Inventing Love: Tom Stoppard, A.E.Housman, and the Classics - 5. John Wood as AEH (the elderly Housman), National Theatre. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/17850597-690e-4e40-b15e-8ded12044518/57DCF109-E45D-47C4-8ACD-F6B3A3FB653D.jpeg Essays - Inventing Love: Tom Stoppard, A.E.Housman, and the Classics - 6. 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(2006) of Edith Evans’s celebrated recordings of scenes from eighteenth-century comedy. 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Blog - Galina Gorchakova: A Calendar of Song: The Eleventh Day of Christmas https://www.alastairmacaulay.com/blog/3us9f6ni1v27gturj5frivumqzpv5j monthly 0.5 2021-01-04 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609788409353-8BUES3QH1UA7O9UMSEB2/IMG_0788.jpeg Blog - A Calendar of Song: For the Tenth Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609788435619-HTEPF2SPJ7UI8H7O623N/IMG_0789.jpeg Blog - A Calendar of Song: For the Tenth Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609788462258-5XRNE9RW8S52V26AQKRE/IMG_0792.jpeg Blog - A Calendar of Song: For the Tenth Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609788477083-LJL04QSRG5JGHPUZN8MZ/IMG_0790.jpeg Blog - A Calendar of Song: For the Tenth Day of Christmas https://www.alastairmacaulay.com/blog/ppvicg84g8lbcjdzgba6hwasjp5u6e monthly 0.5 2021-08-27 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Stracciari: A Calendar of Song: A Self-Advertising Aria to Start the New Year https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609545549027-64HFFQO1H10QF6EOGL8O/IMG_0641.jpeg Blog - Riccardo Stracciari: A Calendar of Song: A Self-Advertising Aria to Start the New Year https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609545567468-TUMUFYANZ5492N11YWSD/IMG_0642.jpeg Blog - Riccardo Stracciari: A Calendar of Song: A Self-Advertising Aria to Start the New Year https://www.alastairmacaulay.com/blog/gyvj1s91cmn4h94pmy8a5fk2cxf98w monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609544319810-BC68CCVEZQZO41UG8B3B/IMG_0639.jpeg Blog - Conchita Supervia: A Calendar of Song: Two Short Songs for New Year’s Eve https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609544334444-D5RPZJ5FZ5DO50HKGMJI/IMG_0638.jpeg Blog - Conchita Supervia: A Calendar of Song: Two Short Songs for New Year’s Eve 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Shirley-Quirk: Advent Calendar of Song: The Third Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609116358719-5OEFUYJAIF68BN3H09EE/IMG_0330.jpeg Blog - George Shirley-Quirk: Advent Calendar of Song: The Third Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609116371601-W051X5FUODCOARLCFWZO/IMG_0329.jpeg Blog - George Shirley-Quirk: Advent Calendar of Song: The Third Day of Christmas https://www.alastairmacaulay.com/blog/ue5k0xmtu6inoz0x61z0a76v3lzec3 monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609090981589-XX82LUIX6XYW5Q0KFXVU/IMG_0326.jpeg Blog - César Vezzani: A Calendar of Song: The Second Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609090997783-XXQ3GFD2MJ1EOVHMNEA9/IMG_0325.jpeg Blog - César Vezzani: A Calendar of Song: The Second Day of Christmas 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Blog - Marilyn Horne: A Calendar of Song continued: The First Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609023925435-2RPL5ZRWQK7K1DRSZB3T/IMG_0200.jpeg Blog - Marilyn Horne: A Calendar of Song continued: The First Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609023957228-BV7L72DYVP362QG2FQ2W/IMG_0201.jpeg Blog - Marilyn Horne: A Calendar of Song continued: The First Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609023982544-B7CZ5NKNFG000CY5QTS2/IMG_0202.jpeg Blog - Marilyn Horne: A Calendar of Song continued: The First Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609023997878-SCQ35OHI46FYK3XY476L/IMG_0204.jpeg Blog - Marilyn Horne: A Calendar of Song continued: The First Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609024014571-223DJOLDVXNHWO0E6EMR/IMG_0205.jpeg Blog - Marilyn Horne: A Calendar of Song continued: The First Day of Christmas https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1609024033973-UL05LBEF1M5RW2OX51GU/IMG_0207.jpeg Blog - Marilyn Horne: A Calendar of Song continued: The First Day of Christmas https://www.alastairmacaulay.com/blog/kpx8fk772ppdo8t9v7ji0ro2ccv5rq monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608995719042-7DEZIK2PXSH3EHSWVEF4/IMG_0160.jpeg Blog - Fred Astaire: Advent Calendar of Song: Christmas Day https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608995734907-ECTT1WYH9B7MLY4MZZ16/IMG_0161.jpeg Blog - Fred Astaire: Advent Calendar of Song: Christmas Day https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608995805537-X3KGKULT9OG2KIHV2UGU/IMG_0162.jpeg Blog - Fred Astaire: Advent Calendar of Song: Christmas Day https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608995822517-J351XPNSJP4QD5HNPXP0/IMG_0164.jpeg Blog - Fred Astaire: Advent Calendar of Song: Christmas Day https://www.alastairmacaulay.com/blog/2ws72djzrgcayyi0zgpcl8vlx6w4rk monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608994887269-KRS2E4EF9MBVDTFM9WP5/IMG_0153.jpeg Blog - Emma Calvé: Advent Calendar of Song: Day Twenty-Four https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608994906016-NEGABEUMNSQNRQRNBGLU/IMG_0154.jpeg Blog - Emma Calvé: Advent Calendar of Song: Day Twenty-Four https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608994929421-G83BPFYEHR6OIXQFCQ65/IMG_0155.jpeg Blog - Emma Calvé: Advent Calendar of Song: Day Twenty-Four https://www.alastairmacaulay.com/blog/6pbkg3hoio5dfeitmidpcu2y3fhdjt monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608717819043-UD2JUIVGM0KSS2XZS158/IMG_9989.jpeg Blog - Pavel Lisitsian : Advent Calendar of Song: Day Twenty-Three https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608717835018-W3TUAFVT8KX4E3RYMV3F/IMG_9988.jpeg Blog - Pavel Lisitsian : Advent Calendar of Song: Day Twenty-Three https://www.alastairmacaulay.com/blog/zobv6l8t0etsqq5xmme1yubxvasgb7 monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608716949785-STDSUFZSCTD2ZJAOBIE2/IMG_9987.jpeg Blog - Josephine Baker: Advent Calendar of Song: Day Twenty-Two https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608716966305-5O3BZ847W8QYA6UATHDD/IMG_9986.jpeg Blog - Josephine Baker: Advent Calendar of Song: Day Twenty-Two https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608716990692-XSFW1KENUSBBGU6992QZ/IMG_9985.jpeg Blog - Josephine Baker: Advent Calendar of Song: Day Twenty-Two https://www.alastairmacaulay.com/blog/2fzq76mln8vixfaypkvd960620qzfv monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608591165678-KM9VXI49B7GERC6E0SN9/IMG_9948.jpeg Blog - Mattia Battistini: Advent Calendar of Song: Day Twenty-One https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608591196707-RCVUTL6REQ9K676KSVPM/IMG_9949.jpeg Blog - Mattia Battistini: Advent Calendar of Song: Day Twenty-One https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608591226579-81HS1AD1JQ38DO95F40A/IMG_9950.jpeg Blog - Mattia Battistini: Advent Calendar of Song: Day Twenty-One https://www.alastairmacaulay.com/blog/860k2jb0j6z2az80bkhovbo12b5bfp monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608486731522-IVB1LDF1PN3TS7XZ6NLW/IMG_9900.jpeg Blog - Claudia Muzio: Advent Calendar of Song: Day Twenty 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https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608127880591-OF013JYUW2ICZSEHUGC3/IMG_9678.jpeg Blog - Alexander Kipnis: Advent Calendar of Song: Day Sixteen https://www.alastairmacaulay.com/blog/5ezneao6yx3zso8m5io3odff6clnxi monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608041609790-3FAA2N023WZ4CSJO4UZI/IMG_9569.jpeg Blog - Rosa Ponselle: Advent Calendar of Song: Day Fifteen https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608041625318-AKO3HPQAIO6680V5UF2U/IMG_9566.jpeg Blog - Rosa Ponselle: Advent Calendar of Song: Day Fifteen https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608041645598-MYYM43CYK5L2AP7A2KPA/IMG_9567.jpeg Blog - Rosa Ponselle: Advent Calendar of Song: Day Fifteen https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1608041660723-DHUGKXBCAJ6UXO3XXTBT/IMG_9568.jpeg Blog - Rosa Ponselle: Advent Calendar of Song: Day Fifteen https://www.alastairmacaulay.com/blog/5s1r5ivcbg3sz4foz5fvlzq9fetfs6 monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607964399453-N2K59AU2HHQRPP1NOVYX/IMG_9510.jpeg Blog - Ella Fitzgerald, Louis Armstrong: Advent Calendar of Song: Day Fourteen https://www.alastairmacaulay.com/blog/wllsx2g4ltwjl573x3fvm2ofhodex7 monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607824057901-J2PO61ZTB907HUJCKFXD/IMG_9436.jpeg Blog - Fernando de Lucia: Advent Calendar of Song: Day Thirteen https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607824076672-AUGK6AW5EBYN3Y8XNEIA/IMG_9437.jpeg Blog - Fernando de Lucia: Advent Calendar of Song: Day Thirteen https://www.alastairmacaulay.com/blog/1udwkp24sj1tk1qkt0gabg4pl5mz1z monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607777606240-MOZRI9MDY6BRZK3YBZTV/IMG_9412.jpeg Blog - Clara Butt: Advent Calendar of Song: Day Twelve Clara Butt (1872-1936) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607777640321-P7A9XGH7S67Q2OX9C28Q/IMG_9411.jpeg Blog - Clara Butt: Advent Calendar of Song: Day Twelve Clara Butt’s London home, Swiss Cottage https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607777676256-MSQYKBJXEAX1BH6SN5G2/IMG_9410.jpeg Blog - Clara Butt: Advent Calendar of Song: Day Twelve https://www.alastairmacaulay.com/blog/b5o7eq5a0bw70xet9kzaj92081ic6a monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607713485259-OU79YDWIW74C4XSCE76S/IMG_9399.jpeg Blog - Enrico Caruso: Advent Calendar of Song: Day Eleven https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607713511332-0Q7UO4BF4RF9GJQHYKR5/IMG_9400.jpeg Blog - Enrico Caruso: Advent Calendar of Song: Day Eleven Enrico Caruso (1873-1921) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607713678941-6FJ8QML9TQCDZU77FVEV/IMG_9404.jpeg Blog - Enrico Caruso: Advent Calendar of Song: Day Eleven Mario Ancona (1860-1931) https://www.alastairmacaulay.com/blog/1p43t83mjz3pb9so7j8mgonwvfngwg monthly 0.5 2021-11-08 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656219835-IOOWNY231939NQF95QKS/IMG_9344.jpeg Blog - The Masked Ball of Ballet22 Roberto Vega Ortiz and Donghoon Lee in the Ivanov “Nutcracker” pas de deux https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656292185-72B18NYUMR5UOJVC39PM/IMG_9345.jpeg Blog - The Masked Ball of Ballet22 2: A second later in the same adagio, Vega Ortiz and Lee https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656447494-4K4K8WZC0QQVKUMZXDSC/IMG_9347.png Blog - The Masked Ball of Ballet22 3: Vega Ortiz, though otherwise dancing the Sugarplum choreography, catches Lee in one sequence…. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656540896-ZMJGB1Q7M5YP0QKCM9GK/IMG_9350.jpeg Blog - The Masked Ball of Ballet22 4: …whereupon Lee catches Vega Ortiz in the next phrase. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656602385-8SR6WGTK1OLRC48HHFVE/IMG_9354.png Blog - The Masked Ball of Ballet22 5: Vega Ortiz in the closing phrases of the sugarplum pas de deux, partnered by Lee https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656692996-Z3AY8QMNO4OSEGH4RK65/IMG_9358.png Blog - The Masked Ball of Ballet22 6: Ortiz and Lee end the “Nutcracker” pas de deux side by side https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656777669-YHEGRDP8MFTO66YTHQ9N/IMG_9359.png Blog - The Masked Ball of Ballet22 7: In the “Swan Lake Pas de Huit”, Duane Gosa takes Odette’s développé en avant with the support of Evan Ambrose https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607656910503-2IDSENHO49YKPZAZ3QCQ/IMG_9360.png Blog - The Masked Ball of Ballet22 8: Gosa and Ambrose https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607657023966-OWIN06NF73A0IZ9DVMG2/IMG_9361.png Blog - The Masked Ball of Ballet22 9: So candid is Lázaro González’s videography that we see the first lifts of the “Swan Lake pas de huit” in profile, with Donghoon Lee squatting to lift Ashton Edwards https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607657195175-ZR582N99OQFMU8H539ZU/IMG_9363.png Blog - The Masked Ball of Ballet22 10: Vega Ortiz as Odette partnered by Joshua Stayton’s Siegfried https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607657287114-2YHMRRM0NITE7ASENJKM/IMG_9364.png Blog - The Masked Ball of Ballet22 11: Roberto Vega Ortiz as Odette, partnered by Joshua Stayton as Siegfried https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607657402926-Y2E7430QSY6LDYJI2036/IMG_9365.png Blog - The Masked Ball of Ballet22 12: The four couples of the “Swan Lake pas de huit” https://www.alastairmacaulay.com/blog/2oua7oha381q4bdf44kden0uenew04 monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607625672990-AVI4GON8D0GN0UMO4XWZ/IMG_9059.jpeg Blog - Lotte Lehmann: Advent Calendar Of Song: Day Ten Lotte Lehmann https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607625703578-F5RWX4ZHMIAOLZKTH78H/IMG_9058.jpeg Blog - Lotte Lehmann: Advent Calendar Of Song: Day Ten Lotte Lehmann https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607625735023-HZ6N5XYC117QPFIRU6CH/IMG_9057.jpeg Blog - Lotte Lehmann: Advent Calendar Of Song: Day Ten Lotte Lehmann https://www.alastairmacaulay.com/blog/ea60slv7zc9c4h9gn3j835mq6fk883 monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607624445041-5MCEPRAMKFMNNLRFJHKY/IMG_9056.jpeg Blog - Peter Pears: Advent Calendar of Song: Day Nine Benjamin Britten at the piano; Peter Pears, tenor, standing. https://www.alastairmacaulay.com/blog/kegess0pm7d54gup9r0ygi0xtn6i8f monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607623191617-MX3E1ZS5XQT3LZCKASQ6/IMG_9054.jpeg Blog - Heather Harper: Advent Calendar of Song: Day Eight Heather Harper https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607623226239-GT219R5UTHXWUPH8R0JR/IMG_9055.jpeg Blog - Heather Harper: Advent Calendar of Song: Day Eight Heather Harper https://www.alastairmacaulay.com/blog/s9oxzwxwf1t89d5alif5n5fagbksyn monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607371486832-7274I10IQ0QLXJ5JVIYM/IMG_8571.jpeg Blog - Fyodor Chaliapin: Advent Calendar of Song: Day Seven 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https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607294983366-4DRC9NCBOXJ4QCAXKGK2/IMG_8565.jpeg Blog - La Niña de los Peines: Advent Calendar of Song: Day Six https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607295004616-NOWEOZ7GLRIKLIKN8XCJ/IMG_8566.jpeg Blog - La Niña de los Peines: Advent Calendar of Song: Day Six https://www.alastairmacaulay.com/blog/buzgbhlmgo02aw87qg5fy8t7tpc323 monthly 0.5 2021-08-27 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607137626008-OAN8TY6CZDBD30WCNAMG/IMG_8517.jpeg Blog - Comtesse Marie-Blanche de Polignac: Advent Calendar of Song: Day Five Nadia Boulanger https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607137657667-I0FYBEK9JE2YM4629VP9/IMG_8518.jpeg Blog - Comtesse Marie-Blanche de Polignac: Advent Calendar of Song: Day Five Comtesse Marie-Blanche de Polignac https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607137711793-AHIYICWGARRLYN7YH4MT/IMG_8520.jpeg Blog - Comtesse Marie-Blanche de Polignac: Advent Calendar of Song: Day Five Hugues Cuénod https://www.alastairmacaulay.com/blog/8b6hi6m3ir9ekwr0ndd719cjpjzb37 monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607073376058-6QT5Y6K3AK0SBHYRAQJC/IMG_8472.jpeg Blog - Maria Callas: Advent Calendar of Song: Day Four https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607073399967-WGP14JNNDP771XO3K9Y2/IMG_8470.jpeg Blog - Maria Callas: Advent Calendar of Song: Day Four https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607073422051-A7NRSMH9TO56VWEEOAEY/IMG_8471.jpeg Blog - Maria Callas: Advent Calendar of Song: Day Four https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607073457584-FPEX3NF10F8O49LT1EYH/IMG_8474.jpeg Blog - Maria Callas: Advent Calendar of Song: Day Four https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607073474423-20ZXIS27PKPYPARSTXA7/IMG_8475.jpeg Blog - Maria Callas: Advent Calendar of Song: Day Four https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1607073490076-H50B64W2RU99O46QWGH3/IMG_8476.jpeg Blog - Maria Callas: Advent Calendar of Song: Day Four https://www.alastairmacaulay.com/blog/s8dtkx55bm72lzebmljg3ggfztf6uq monthly 0.5 2021-08-27 https://www.alastairmacaulay.com/blog/ijtcdlqnvq26hng07h32pbq7tkv8fw monthly 0.5 2021-08-27 https://www.alastairmacaulay.com/blog/c0aivgy5hzi5by509jp72dv0kxm6e3 monthly 0.5 2021-08-27 https://www.alastairmacaulay.com/blog/yz1ov8tvpi17f5ud3sujjxxnt0ezak monthly 0.5 2021-08-27 https://www.alastairmacaulay.com/blog/exm7j4zqvz37cgs0v6kpzsop0migap monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606759474520-8KA89IQXH93EF430QWVX/IMG_8294.jpeg Blog - Swan Lake Studies 154-165 164: Odette (Margot Fonteyn) commences her adagio with Siegfried (Michael Somes), observed (and soon joined) by Benno (Bryan Ashbridge), while the corps of swan maidens is supported by other huntsmen. Royal Ballet film at Covent Garden, 1959. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606759641866-V6CD9P581JPTSW9DFON8/IMG_8295.jpeg Blog - Swan Lake Studies 154-165 165: In Alexei Ratmansky’s 2016 realisation of the 1895 Maryinsky Ivanov-Petipa production for the Zürich Ballet, Odette (Viktoria Kapitonova) prepares her first turns as supported by Siegfried (Alexander Jones) and observed by her soon co-partner Benno (Wai Chen), immediately framed by the eight junior or student swan-maidens, and more distantly framed on either side by the corps of adult swan maidens with their huntsmen partners. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606760145395-N1K602Y0O9PWDPS6DS8M/IMG_8296.jpeg Blog - Swan Lake Studies 154-165 166: Odette (Fonteyn) prepares to turn. Royal Ballet, 1959 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606760221708-ZXLGSQIN6DIZNSUYC9TD/IMG_8297.jpeg Blog - Swan Lake Studies 154-165 167: Odette (Kapitonova) begins the supported arabesque that will become penchée in the arms of Siegfried (Alexander Jones). Alexei Ratmansky 2016 production for the Zürich Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606760333241-JYL2IDVD7QQV7GP7QMZS/IMG_8298.jpeg Blog - Swan Lake Studies 154-165 168: And Odette (Fonteyn) prepares her first arabesque (soon to become penchée) in the arms of Siegfried (Michael Somes). Royal Ballet, 1959. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606760443504-I91B7CGZITDICU7WX13R/IMG_8299.jpeg Blog - Swan Lake Studies 154-165 169: Please observe the classical purity of Odette’s penchée in Margot Fonteyn’s 1959 performance. When you see an Odette throw both arms forward in this penchée, you know you’re not seeing Lev Ivanov’s choreography any more. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606760566119-IR6BB07PWIRSECI755YQ/IMG_8300.jpeg Blog - Swan Lake Studies 154-165 170: Benno (Wai Chen) now becomes Odette’s assistant partner, observed by Siegfried (Alexander Jones). Behind them, the eight student swans begin to change their arc formation. Alexei Ratmansky’s 2016 Zürich Ballet realisation of Lev Ivanov’s 1895 choreography. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606760762780-9M5LWLW3S9SQHSBZ6UNK/IMG_8301.jpeg Blog - Swan Lake Studies 154-165 171. Odette never seems to see Benno as he partners her; nor has she yet looked remotely directly at Siegfried. The classical purity of her line remains firm, one may say chaste. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606760892322-LQVJSSCQ36815XX9ILEB/IMG_8302.jpeg Blog - Swan Lake Studies 154-165 172. Although his friend Benno now partners Odette, Siegfried watches: an important part of his growing love for her. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606761048603-AP8MM9M69RX69ACSWPQH/IMG_8303.jpeg Blog - Swan Lake Studies 154-165 173: Siegfried, now replacing Benno as Odette’s partner, frames or amplifies her arabesque gesture forward into the beyond. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606761133150-8XH4DAR07UMJ8QY3DF7O/IMG_8304.jpeg Blog - Swan Lake Studies 154-165 174. The formal partnering ritual maintains classical strictness and yet is charged with austere drama. No sentimental Soviet historionics are needed. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606761246497-P9PZJG4IUZEFXBWILRWW/IMG_8305.jpeg Blog - Swan Lake Studies 154-165 175. Odette briefly holds a chaste arabesque balance before Siegfried. Their pas de deux à trois is continually charged by imagery of her independence or withdrawal from him. https://www.alastairmacaulay.com/blog/7tgdyrmpycn12m3tumcqobydwjzmkt monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478028552-GG8ERVT3RU7X40Y50KIK/IMG_8129.jpeg Blog - Swan Lake Studies 143-153 143: Margot Fonteyn in the 1959 film of “Swan Lake” Act Two with the Royal Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478105571-023GP8B0DO8J3VPDWX6D/IMG_8130.jpeg Blog - Swan Lake Studies 143-153 144: Tamara Karsavina as Odette, Maryinsky Ballet, St Petersburg. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478196766-LZX8ZFOCBEX6CS37R3KP/IMG_8131.jpeg Blog - Swan Lake Studies 143-153 145: Lubov Egorova as Odette. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478290867-XA5MR00GLSRFLV7NLUBA/IMG_8132.jpeg Blog - Swan Lake Studies 143-153 146: Elsa Vill as Odette. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478372442-HP3ENDECMPNN4T3OOVZ8/IMG_8133.jpeg Blog - Swan Lake Studies 143-153 147: Alicia Markova and Robert Helpmann, with swan maiden corps and huntsmen, 1934 Vic-Wells Baller first production of “Swan Lake” by Nicholas Sergueyev from the Stepanov notation. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478443698-URRJYWBS99PTY0Y27KAG/IMG_8134.jpeg Blog - Swan Lake Studies 143-153 148: Margot Fonteyn and Michael Somes in a 1954 TV film of the Odette-Siegfried scene. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478581922-O6AC806XAOUPKKAJNPQ7/IMG_8135.jpeg Blog - Swan Lake Studies 143-153 149: Alexei Ratmansky’s 2016 Zürich Ballet production of “Swan Lake”, with Wei Chan (Benno), Viktoria Kapitonova (Odette), Alexander Jones (Siegfried). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478733093-RYV3RGNO2Y2R3YTTB15G/IMG_8136.jpeg Blog - Swan Lake Studies 143-153 150: Siegfried (Alexander Jones) prepares to reassure and touch Odette (Viktoria Kapitova), observed by Benno (Wai Chen) and framed by the eight student swan maidens. Zürich Ballet production by Alexei Ratmansky, 2016. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478900278-6Y8EH8FUOSHMYDW910IZ/IMG_8137.jpeg Blog - Swan Lake Studies 143-153 151: Odette (Margot Fonteyn) keeps her eyes averted as Siegfried (Michael Somes) begins to touch and partner her. Royal Ballet film c.1959. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606478980629-OG5SN2GBECQ5DCPURLCV/IMG_8138.jpeg Blog - Swan Lake Studies 143-153 152: In the same film, Odette rises to a kneeling position with Siegfried’s assistance, while keeping her eyes averted from his. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606479085158-K40XRB7E1PF139MI77L8/IMG_8139.jpeg Blog - Swan Lake Studies 143-153 153: With Siegfried’s chivalrous assistance and yet without ever meeting his eyes, Odette has risen to point. She prepares to dance the adagio with him. Bryan Ashbridge (Benno), the corps and (yes) the huntsmen all stand by. https://www.alastairmacaulay.com/blog/gz4pkdcoimpfpiy74h88gbs8n3zp53 monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606394918194-AQIBXKE15WNH7OKMJEWI/IMG_8072.jpeg Blog - Swan Lake Studies 131-142 Siegfried (Alexander Jones) summons Benno. Zürich Ballet production of “Swan Lake” by Alexei Ratmansky, 2016. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395030498-PW9EOVZB77CWLDHGPUI9/IMG_8073.jpeg Blog - Swan Lake Studies 131-142 Siegfried (Michael Somes) mimes “queen” (crown) to Benno (Bryan Ashbridge) amid a kind speech asking if Benno has seen Queen Odette. Royal Ballet film of the first lakeside scene c.1959. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395152180-GOXOWGWKIGYRUF1F20VV/IMG_8074.jpeg Blog - Swan Lake Studies 131-142 Siegfried (Alexander Jones) continues with the mime speech to Benno, ending “here”. Zürich Ballet production of “Swan Lake” by Alexei Ratmansky, 2016. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395249898-P39S39M1Y7B7PZGUVYAD/IMG_8075.jpeg Blog - Swan Lake Studies 131-142 Benno (left) and Siegfried (right) pass through the columns of swan-maidens, Zürich Ballet production by Alexei Ratmansky, 2016. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395330262-CBHMYYS2YMR8BWTUL5N3/IMG_8076.jpeg Blog - Swan Lake Studies 131-142 Benno and Siegfried continue to comb the swan-maiden columns. Zürich Ballet production of “Swan Lake” by Alexei Ratmansky, 2016. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395410518-37170YHI3FDK9HR3ANEF/IMG_8077.jpeg Blog - Swan Lake Studies 131-142 Prince Siegfried (Michael Somes) shows dejection. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395464832-0TRB2EW30PAKMHI72D63/IMG_8078.jpeg Blog - Swan Lake Studies 131-142 Odette (Margot Fonteyn) suddenly enters, upstage left, running across to materialise in arabesque on Benno’s supporting arm; Benno (Bryan Ashbridge), though amazed, is chivalrous . https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395615932-ARLC97YDHVP114QHKGF8/IMG_8079.jpeg Blog - Swan Lake Studies 131-142 Odette (Margot Fonteyn), never looking at Benno (Bryan Ashbridge), lets go of his arm, swiftly holding a “swan” arabesque. Royal Ballet film c.1959. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395741380-UUGDCYW5H4EX069AV5CJ/IMG_8080.jpeg Blog - Swan Lake Studies 131-142 Now, Odette (Margot Fonteyn) runs a quick ring around Siegfried (Michael Somes) without looking at him. Royal Ballet film, c.1959. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395838803-2KWOBB77O4N4S5RDZ00A/IMG_8081.jpeg Blog - Swan Lake Studies 131-142 But in Alexei Ratmansky’s 2016 Zürich Ballet production, based on the 1895 Stepanov notation, Odette arrives next on Siegfried’s arm, looking into his face from the side. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606395972594-S6NLDIQ0HSK8MG6TM1N6/IMG_8082.jpeg Blog - Swan Lake Studies 131-142 In one of Margot Fonteyn’s masterstrokes, Odette pulls herself up in an upstretched fifth position in front of Siegfried (Michael Somes) and Benno (Bryan Ashbridge). Royal Ballet film, c.1959. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606396101436-OJ2K9XGL2JAV3EJW7CXF/IMG_8083.jpeg Blog - Swan Lake Studies 131-142 But the true Fonteyn masterstroke is the rapidity with which Odette descends to the floor, folding at Siegfried’s feet. She was stretched right up; a second later, she is folded low, deeply vulnerable and private. Royal Ballet film c.1959. https://www.alastairmacaulay.com/blog/cv62le7qwmfsvcs6a4ctutl0ql8dn4 monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606324439920-VF3UN3A2VTJYVNN8YXTQ/IMG_8045.jpeg Blog - Swan Lake Studies 119-130 The start of the swan-maidens’ waltz. First night of Alexei Ratmansky’s 2016 production of “Swan Lake”, Zürich Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606324530158-YVC77Y8869LRFMK3L6F0/IMG_8046.jpeg Blog - Swan Lake Studies 119-130 The central row of swan-maidens was designated by Lev Ivanov to be danced by students: thus affording valuable training to ballet-school students while enriching the texture of the choreography with different layers of proficiency. First night of Alexei Ratmansky’s 2016 production of “Swan Lake”, Zürich Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606324713526-SUSAH0ZIZ7JSGC6K55ND/IMG_8047.jpeg Blog - Swan Lake Studies 119-130 The central row subdivides vertically into dancers facing left and right; but both are doing the swan-maidens’ signature step: temps levé en arabesque. First night of Alexei Ratmansky’s 2016 production of “Swan Lake”, Zürich Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606324842228-ETHHHK65MT269IREWN2F/IMG_8048.jpeg Blog - Swan Lake Studies 119-130 First night of Alexei Ratmansky’s 2016 production of “Swan Lake”, Zürich Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606324876973-MPPQEHY4PXW011MFTWPS/IMG_8049.jpeg Blog - Swan Lake Studies 119-130 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606324905013-N7FOOGZEW3R67I08HIY6/IMG_8050.jpeg Blog - Swan Lake Studies 119-130 The two swan-maiden lieutenants begin to play their part, an important part of the choreography’s texture in both acts of Lev Ivanov’s lakeside choreography. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606324998449-9118CPQLY2HBLQM47ZP8/IMG_8051.jpeg Blog - Swan Lake Studies 119-130 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606325024351-PGC0M5H4MZIFRM8566YW/IMG_8052.jpeg Blog - Swan Lake Studies 119-130 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606325065789-2BUCB91MBFOL69UCJPLF/IMG_8053.jpeg Blog - Swan Lake Studies 119-130 The swan students are now kneeling in a horizontal row across the back of the stage. On either side, the adult corps execute academic steps worthy of George Balanchine’s “Concerto Barocco”: here, relevé fifth position for feet, legs and arms. First night of Alexei Ratmansky’s to 2016 production of “Swan Lake”, Zürich Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606325126374-UTOMY30BPHBIUY30H3TL/IMG_8054.jpeg Blog - Swan Lake Studies 119-130 On either side of the stage, the swan-maiden corps now contributes characteristic steps: here off point and asymmetrical, in tendu side. First night of Alexei Ratmansky’s 2016 production of “Swan Lake”, Zürich Ballet. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606325469928-0JJPN0GFCZKO0ORW9Q5V/IMG_8056.jpeg Blog - Swan Lake Studies 119-130 First night of Alexei Ratmansky’s 2016 production of “Swan Lake”, Zürich Ballet. https://www.alastairmacaulay.com/blog/z78v7uc6b59n7e84g855drq8il98ju monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606322569297-6Z7HJFLU8P48AIRRZO5M/IMG_8032.jpeg Blog - Ashton and Balanchine: Parallel Lives: 1 https://www.alastairmacaulay.com/blog/qfxutm1yhrut5szu5k5aw6wr6ygrji monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606310343935-4OS4EFOFHTWNET8QFG9T/IMG_7981.jpeg Blog - Swan Lake Studies 115-118 115 (taken by Russell Sedgwick) shows the Sadler’s Wells Ballet in 1943 with Margot Fonteyn and Robert Helpmann as Queen Odette and Prince Siegfried. (The corps of swan maidens include Julia Farron and Moira Shearer, with Celia Franca as one of two leading lieutenant swans.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606310450446-6QLTH1BLF0HSXNA1BIW4/IMG_7982.jpeg Blog - Swan Lake Studies 115-118 116. The Royal Ballet at Covent Garden in July 1980, led by Natalia Makarova and Anthony Dowell as Odette and Siegfried; please note how the women’s stance and “winged” gesture has been dramatically changed. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606310539274-31B8NWDEXI3NSOZ4O0DX/IMG_7983.jpeg Blog - Swan Lake Studies 115-118 117. Zenaida Yanowsky as Odette, a second or two before Odette’s gesture of intercession, with the Royal Ballet women holding the same stands and gesture as in 116, but with her surrounded by eight kneeling swan children, a startling but poetic effect added in Dowell’s 1987-2017 Royal Ballet production. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606310650180-I7KV58LV1AXLQERP7UGE/IMG_7984.jpeg Blog - Swan Lake Studies 115-118 118. The same moment in Alexei Ratmansky’s 2016 Zürich production - but here the female corps has reverted to much the same stance as in 1942, and there are no swan children. https://www.alastairmacaulay.com/blog/ij9n42mqn3llubm98qnxi553rblsj5 monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606305757832-JK8D3E7RFQBKHWOGZ4F7/IMG_7964.jpeg Blog - Swan Lake Studies 103-114 103. The entrance of the Royal Ballet swan-maidens (not swans) in 1980. Baron von Rothbart is on his rock behind, wings spread, although that was not the plan of choreographer Lev Ivanov. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606305881433-AZZ1HHUOAKR0ZEHC9PA9/IMG_7965.jpeg Blog - Swan Lake Studies 103-114 104. The line of the corps’s entry becomes a zigzag, both like the line sometimes taken by swans in flight and like the line of Shades entering in Marius Petipa’s “La Bayadère”. The dancers are executing temps levé en arabesque, or arabesque sauté https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606306018169-ENT9GRA5EPMY30G0WZRG/IMG_7966.jpeg Blog - Swan Lake Studies 103-114 105. Rothbart continues to spread his wings as he supervises the entrance of the swan-maidens in the Royal Ballet’s “Swan Lake”, in 1980, in designs by Leslie Hurry. It’s dramatic, but Rothbart was not part of this entrance in the 1895 Maryinsky production. The swan-maidens are newly free, for the night, from their swan form as they enter. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606307881486-NB87MUS2O1GTPOD76BG5/IMG_7967.jpeg Blog - Swan Lake Studies 103-114 106. When I first saw “Swan Lake”, with the Royal Ballet many times in 1975-1978, the swan maidens’ heroic port de bras - beginning here and ending in the next with symmetrical arms powerfully cleaving the air as they beat downwards - became a crucial image for me. Only decades later did I discover that this was no part of Lev Ivanov’s original. The Bolshoi Ballet added it (perhaps the Maryinsky too) during the Soviet era. After Ninette de Valois saw it on a visit to Moscow in the mid-1950s - as the late Valerie Taylor, a corps dancer from 1948 onward. told me in 2009 - she made her Royal dancers do it this way. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606307906761-6EB5CT0BX014HCFDSG0N/IMG_7968.jpeg Blog - Swan Lake Studies 103-114 107. And here is the completion of the “swan” port de bras. Especially up to 1978, the Royal Ballet executed these wingbeats with tremendous rigour. (I would try to do them when I got home.) When the company returned to “Swan Lake” in 1979 for a new edition of the Leslie Hurray production, the wingbeats were executed with relatively relaxed elbows, as here, in this still of the 1980 live film. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606307958124-IY7DM9BPDP9TEJGZSK1X/IMG_7969.jpeg Blog - Swan Lake Studies 103-114 108. Here Rothbart runs onto the stage and around the swan-maidens in their wedge shape. Dramatic as this looks, it was more or less opposite to Lev Ivanov’s intention. The swan-maidens here, even if with some residual swan behaviour, should be finding their freedom from Rothbart rather than their enslavement by him. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606307989456-WVJAKPXHPN814DJQG44Z/IMG_7970.jpeg Blog - Swan Lake Studies 103-114 109. Here the Royal Ballet swan-maidens dance in two intersecting rings around Baron von Rothbart (Derek Rencher, 1980, Royal Ballet). But until c.1962 , as 1949-1956 films of the Royal Ballet productions show, it was Prince Siegfried’s friend Benno they surrounded, changing the drama considerably: that was Lev Ivanov’s original. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606308033744-2E8GG7GMAS5HHDQ1MZOL/IMG_7971.jpeg Blog - Swan Lake Studies 103-114 110.Here the corps de ballet of swan-maidens enter in Alexei Ratmansky’s Zürich Ballet production in 2016. The nocturnal quality is evident. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606308068038-03RB606E16YL9WJK32KM/IMG_7972.jpeg Blog - Swan Lake Studies 103-114 111. The corps of swan maidens in Alexei Ratmansky’s Zürich 2016 production, arriving across the stage, now performs the old sideways port de bras, beginning upright with one arm crossing the touch the opposite wrists (see next). https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606309489983-WP5W1PC6C7WG14S6E8PQ/IMG_7973.jpeg Blog - Swan Lake Studies 103-114 112. The swan-maidens end their sideways port de bras by bringing one arm down and leaning over in tendu side. Here this is the Zürich Ballet in Alexei Ratmansky’s 2016 production; but this is what the Royal Baller used to do until the mid-1950s. When Ninette de Valois, after one visit to Russia, saw what the Bolshoi were doing here, she came back and made her dancers do the same. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606309562173-VLZQ19RAXWH1GDRNN1S2/IMG_7974.jpeg Blog - Swan Lake Studies 103-114 113. Here Benno enters and sees the swan-maidens in their wedge formation. Zürich Ballet, 2016. What an impression his green cloak makes! https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606309635677-0V0MV6VANUFFVRU3CQH7/IMG_7975.jpeg Blog - Swan Lake Studies 103-114 114. And here, as Lev Ivanov planned and as the Royal Ballet used to do, the swan-maidens ring Benno (not Rothbart, a very different character). https://www.alastairmacaulay.com/blog/spjs2ilspbnnh0k5ozg3fbfco1dc73 monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606303853920-ZLOH7W9068YM4LM08TOH/IMG_7976.jpeg Blog - Swan Lake Studies 91-102 Derek Rencher as Rothbart, 1980, Royal Ballet: for me a definitive interpretation https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606303887717-CB8DY9IFTKTL3NWZR151/IMG_7954.jpeg Blog - Swan Lake Studies 91-102 Alexei Bulgakov as Rothbart, 1895, Maryinsky Ballet premiere production of the Petipa-Ivanov “Swan Lake” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606303928673-HRLJGAKVX0ROJV9LCUI3/IMG_7955.jpeg Blog - Swan Lake Studies 91-102 Alexei Bulgakov as Rothbart, 1895, Maryinsky premiere of the Drigo-Petipa-Ivanov production of “Swan Lake” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606304114223-GCBM5FYZY9LO9PN4IGVD/IMG_7958.jpeg Blog - Swan Lake Studies 91-102 In the 1953 Bolshoi film of “Swan Lake”, Rothbart is at one point shown flying as a bat above the lake. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606304085390-TA1BP976TQ16DZTFOE19/IMG_7957.jpeg Blog - Swan Lake Studies 91-102 Rothbart means Redbeard. Here is a redbeard Rothbart in Alexei Ratmansky’s 2016 Zürich Ballet production of “Swan Lake”. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606303958130-ESJD77Z9QOURJ0UGIC2J/IMG_7956.jpeg Blog - Swan Lake Studies 91-102 The redbeard Rothbart: Zürich Ballet, 2016, Alexei Ratmansky’s production. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606304555565-6FF94AE0H0ITAJX65FQQ/IMG_7978.jpeg Blog - Swan Lake Studies 91-102 Siegfried, Odette, and Rothbart in Alexei Ratmansky’s 2016 Zürich Ballet production of “Swan Lake” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606301751363-EOABXPEDF6NCCFWUX7JN/IMG_7961.jpeg Blog - Swan Lake Studies 91-102 Royal Ballet “Swan Lake”, 1980. Left to right Anthony Dowell (Prince Siegfried), Natalia Makarova (Odette), Derek Rencher (Baron von Rothbart) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606304216956-W76U7PKF62PS5N2C2JJY/IMG_7959.jpeg Blog - Swan Lake Studies 91-102 Rothbart as human in the 1953 Bolshoi film of “Swan Lake” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606304254739-ZQSQLKA2NBV75UX0J9I1/IMG_7962.jpeg Blog - Swan Lake Studies 91-102 Derek Rencher as Rothbart on his corner rock in “Swan Lake”, Royal Ballet, 1980. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606304314525-FAXFAUEFQBUF71AR66VU/IMG_7963.jpeg Blog - Swan Lake Studies 91-102 Gary Avis as Baron von Rothbart in the Anthony Dowell 1987-2016 Royal Ballet production of “Swan Lake”, photo probably c.2010. https://www.alastairmacaulay.com/blog/v638gqvubtiy3y4pmq4pio2tjgsawa monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606299656975-OM697HPFQQ4YZSYJC60N/IMG_7942.jpeg Blog - Swan Lake Studies 79-90 79: “See the swans!” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606299633002-RA1XD2QUOJZ1PC7RI9OR/IMG_7943.jpeg Blog - Swan Lake Studies 79-90 80: “Companions, come this way!” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606299736757-ZM5ZGWGS37P6WC696EU3/IMG_7944.jpeg Blog - Swan Lake Studies 79-90 81: “Sir, may we -” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606299830280-2OU0OCKASSZYF2NHN2CZ/IMG_7945.jpeg Blog - Swan Lake Studies 79-90 82: “- shoot those swans we see over there?” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606299914586-JNZJ1V52IAUAE2RM9S2Y/IMG_7946.jpeg Blog - Swan Lake Studies 79-90 83: “Wait a moment -” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606300018483-90N3Q700A4RTNEOR55KX/IMG_7947.jpeg Blog - Swan Lake Studies 79-90 84: “- I myself - ” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606300085444-VO4ILTS1A83YGRC9Y0SM/IMG_7948.jpeg Blog - Swan Lake Studies 79-90 85: “ - here - ” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606300132888-691HJWXUPNTQHMXELC1D/IMG_7949.jpeg Blog - Swan Lake Studies 79-90 86: “- must shoot - ” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606300360249-4PDSF8FS6UKKYTWF7574/IMG_7950.jpeg Blog - Swan Lake Studies 79-90 87: “ - the first.” (Some translate this as “alone”.) https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606300411668-LZKI4FVBBV9114GC7X13/IMG_7951.jpeg Blog - Swan Lake Studies 79-90 88: The huntsmen bow to the prince. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606300480006-HE99RUO7XTVYNCF2GW5O/IMG_7952.jpeg Blog - Swan Lake Studies 79-90 89: “Be gone.” https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606300528109-CYJ10YJ1S22BMUW69MIP/IMG_7953.jpeg Blog - Swan Lake Studies 79-90 90: “That includes you.” https://www.alastairmacaulay.com/blog/f03c6j9l9qbwkhn2r5a4xog8xnajvh monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287118017-G5HWFEB4SQ0RXRSOYJ1Q/IMG_7928.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287151959-EETSFI8TRGK6PMD09S36/IMG_7929.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287200608-45M11XUUJ45FPGF0196Y/IMG_7930.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287232103-JR9RL57ZHNE1BEMMCGBO/IMG_7931.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287271220-RYRIL5IRHBK7DDIKNTQR/IMG_7932.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287306654-XMV8ITMEAI2LWXKPCX8Z/IMG_7933.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287344040-GA7CBYJ2SLSLT4C84D00/IMG_7934.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287367950-N1IXIMG3SKI3TSKCQ90S/IMG_7935.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287401023-ZJ2QU87VVT85CGR1B3Z0/IMG_7936.jpeg Blog - Swan Lake Studies 69-78 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606287427132-YARH452ZZGDKUASQBTH3/IMG_7937.jpeg Blog - Swan Lake Studies 69-78 https://www.alastairmacaulay.com/blog/sb2x773t02a65a4f27my8l40kpajmk monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606256269733-4Y670E7DYH30JRI9COHX/IMG_7915.jpeg Blog - Swan Lake Studies 65-68 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606256371528-ATT5PFHMQBFJLXXKSDV0/IMG_7918.jpeg Blog - Swan Lake Studies 65-68 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606256373138-M5NSDMYOEY0CHW0G5C7C/IMG_7917.jpeg Blog - Swan Lake Studies 65-68 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606256374902-H0TIG39CE8SCMIW1IKY0/IMG_7915.jpeg Blog - Swan Lake Studies 65-68 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606256376935-PPY90V6ZHOWRT4AY3WRC/IMG_7916.jpeg Blog - Swan Lake Studies 65-68 https://www.alastairmacaulay.com/blog/4znxxr7dr043p13w4zph5tpzz4glxc monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255441600-00K8CT2DUB5QO9ZIDSAZ/IMG_7897.jpeg Blog - Swan Lake Studies 51-52. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255443500-9TRAC619XYD96TGH1PN9/IMG_7898.jpeg Blog - Swan Lake Studies 51-52. https://www.alastairmacaulay.com/blog/g10tob07okf7trkpvd396putgl3f6l monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255234526-P5ZETJA6F7RIOWKVHO4I/IMG_7900.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255236572-KF5AIHOLZW267YK1OJCR/IMG_7902.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255238607-S4BIR9147X60UXWGKGCE/IMG_7904.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255239599-RU1880MQYTEYAM49PA4W/IMG_7908.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255240710-1WOMXAGCHHDYFGB8DV5A/IMG_7901.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255242363-9DRB7JFNYLMV8NJSNZII/IMG_7899.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255243732-1SD4Q5A6O03IJ4EQQJOY/IMG_7903.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255245047-1FN68IQ1VR8HFJDH2APS/IMG_7907.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255245895-2DLSP6GODVKLIVGGYS00/IMG_7909.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255248032-AWMI8J9Y3X44QZDKMG27/IMG_7906.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255249517-PR6N17P0BQ1Z0P51D7QE/IMG_7905.jpeg Blog - Swan Lake Studies 53-64 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606255250995-86DWC177DOVV6UX3V1SX/IMG_7911.jpeg Blog - Swan Lake Studies 53-64 https://www.alastairmacaulay.com/blog/434q9lxfs5qxmw8wyk7monhgt2bbks monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606393678183-5QRWAPIM42GIOPSNU5FP/IMG_7894.jpeg Blog - Swan Lake Studies 48-50 Royal Ballet, corps de ballet of swan maidens, late 1970s. Photo: Donald Southern. https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606393792122-9WNQS4B26M7IWTVO7ACY/IMG_7895.jpeg Blog - Swan Lake Studies 48-50 Royal Ballet, corps de ballet of swan maidens, 1987-2016 Anthony Dowell production https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606393890616-BBPPGOSFQRQK4S4WGMLX/IMG_7896.jpeg Blog - Swan Lake Studies 48-50 Zürich Ballet, corps de ballet of swan-maidens, Alexei Ratmansky production, 2016. https://www.alastairmacaulay.com/blog/vskisqeewcz1wcsu2zocbog0sibr8y monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606250659383-38G8DEIM4AJN8JVG0DGD/IMG_7892.jpeg Blog - Swan Lake Studies 45-47 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606250660442-KWDSAELB1ZBKSQH2M1U1/IMG_7891.jpeg Blog - Swan Lake Studies 45-47 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https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606241552898-OTEZ7DXZOZLVZHS14LNO/IMG_7867.jpeg Blog - Swan Lake Studies 33-34 https://www.alastairmacaulay.com/blog/jubo2fu28qtency095xuqcxe05xcqp monthly 0.5 2021-08-30 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606240660066-LY6MSNF3MH1E956G3DXD/IMG_7866.jpeg Blog - Swan Lake Studies 23-32 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606240661278-GD4JN7FVXO3PZYUHXGUO/IMG_7862.jpeg Blog - Swan Lake Studies 23-32 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606240662887-QAJXH6ABKFUJKCSQH1EZ/IMG_7864.jpeg Blog - Swan Lake Studies 23-32 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606240664014-JVS2SYFUT2GHTZRNI7CG/IMG_7860.jpeg Blog - Swan Lake Studies 23-32 https://images.squarespace-cdn.com/content/v1/5f7a13e2cc6d622013f6e6d4/1606240665007-H88XZV82RPNDS8WDAFC4/IMG_7859.jpeg Blog - Swan Lake Studies 23-32 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