GLENN BURGESS suggests that, despite his record in Spain, Orwell’s enduring commitment to socialist revolution underpins his late novels
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Concerto/Enigma Variations/Raymonda Act III, Royal Opera House
Triple bill to treasure from Royal Ballet
Concerto/Enigma Variations/Raymonda Act III
CHRISTOPHER POLLARD explains how and why neoliberalism adopted the racist agenda common to the populist right of today
SYLVIA HIKINS recommends a sweeping survey of the world's biggest desert and the people who live there
GUILLERMO THOMAS is persuaded by a scathing critique of the Church of England and its embeddedness in imperialism
MARIA DUARTE and ANGUS REID review Materialists, Unmoored, Together, and Bambi: A Tale of Life in The Woods
TONY BURKE revels in the publication of previously unreleased tracks by the great US folksinger
GORDON PARSONS endures heavy rock punctuated by Shakespeare, and a delighted audience
IN WHAT’S something of a history lesson, this mixed bill perfectly showcases the Royal Ballet’s matchless skill and rich heritage.
Works by the company’s founding choreographer Frederick Ashton and his successor Kenneth MacMillan are completed by Rudolf Nureyev’s version of Marius Petipa’s final act of the Imperial Russian classic Raymonda.
MacMillan’s Concerto, set to Shostakovich’s piano concerto No. 2, is awash with vibrancy and colour as dancers in orange and lemon costumes leap in jetes across the stage with a synchronised grace.
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