MARIA DUARTE reviews Desperate Journey, Blue Moon, Pillion, and Wake Up Dead Man: A Knives Out Mystery
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Cinderella, Royal Albert Hall, London
English National Ballet have a ball with a classic fairy tale
Only ugly inside: Emma Hawes and Katja Khaniukova in Cinderella
[Laurent Liotardo]
WILL STONE enjoys a set by an artist too eclectic to be pigeonholed
RUTH AYLETT reviews two collections of outright political poetry
The book feels like a writer working within his limits and not breaking any new ground, believes KEN COCKBURN
PRAGYA AGARWAL recommends a collection of drawings that explore the relation of indigenous people to the land in south Asia, Africa and the Caribbean
CHRIS SEALE speaks to Palestinian sound artist BINT MBAREH
MARY CONWAY applauds a brave and timely two hander that explores the difference between intimacy and abuse
THE MUCH-LOVED Cinderella is a story that’s been retold from cradle to grave, with its origins going back beyond the Brothers Grimm as far as ancient Greece.
A favourite panto perennial in Britain, it’s an international folklore classic that’s been adapted for film, television, opera, musical and ballet and undergone countless varied interpretations since its first staging in 1804.
Yet it was Sergei Prokofiev’s score, premiered in 1945 at the Bolshoi theatre in Moscow, that became the mainstay of future ballet productions and gave choreographers free creative rein with the storyline.
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