Spring has sprung, darling!
And with it, a new season of balletic delights to dazzle us with artistry, grace, and yes, that oh-so-necessary dose of dramatic tension. So gather your most fabulous frock and a glass of something chilled, because it's time to take flight!
My first stop was the **Royal Ballet**, naturally, for the much-anticipated revival of **"La Bayadère."** Honestly, you could feel the anticipation in the air - a delicious blend of excitement and 'will it, won't it' suspense. It didn't disappoint. Natalia Osipova as Nikiya? A veritable goddess of movement. Her every step was a whispered secret, each pirouette a captivating whisper of silk against skin. **Marianela Núñez**, always a vision of refined elegance, made a chillingly effective Gamzatti. The whole performance crackled with passion, an exquisitely woven tapestry of tragedy and longing, the set and costumes a feast for the senses. I dare you to resist the pure romanticism of it all!
Then came **New York City Ballet's** much-discussed rendition of **"The Nutcracker"** under the creative direction of the eternally enigmatic **Christopher Wheeldon.** Now, some darling might tell you this isn't a particularly bold interpretation - and they might be right. But Wheeldon's work is always about finesse and emotional detail. I was completely swept up in his world of exquisite detail. And darling, let's not forget the incredible Tchaikovsky score. My goodness, there's nothing like the magic of live orchestra music to truly elevate a ballet, is there? It truly adds another layer to the enchantment.
But for a truly shockingly gorgeous experience, darling, you must absolutely get your hands on tickets to see **Matthew Bourne's "Edward Scissorhands"** at the Sadler's Wells. Now, Matthew is one of my favorite choreographers. He is such a clever master of dark, edgy storytelling and "Scissorhands" is an absolute triumph. It's like a gothic fairy tale with a beautifully stark score and a genuinely breathtakingly good performance from Dominic North as the troubled protagonist.
Speaking of beauty, let's chat about some of the *most* striking outfits that have taken to the stage in the last few weeks. Firstly, those **"Bayadère" costumes**! The richness of those fabrics! The sparkle! Honestly, my love of elaborate, shimmering gowns knows no bounds. And speaking of embellishments, the costuming for "Edward Scissorhands" is pure genius. Every single garment, from the Victorian inspired silhouettes to the haunting 'cut' detail on Edward's costumes, tells a story. And then there's the way those dark fabrics play against the stage lights, just glorious! Oh, and **how stunning are those ballroom gowns in "The Nutcracker"?** Such a glorious blend of tradition and a modern elegance.
But back to the productions: Now, while I adored the New York City Ballet's "Nutcracker" and, as always, adored Osipova, it wasn't all rosy in the world of ballets. **Some "new" productions that appeared to be attempting innovation, were, dare I say, *lacking* a bit in depth. One piece that really stood out - in a not good way - was "Unbound."** You know when something just lacks substance and is a bit underwhelming? I went expecting an explosion of emotion and choreography but got something decidedly less. It was a letdown to say the least, although some of the individual elements did stand out, it lacked a cohesive direction and didn't quite connect with the audience, in my opinion. *Sigh!*
This Spring's offerings from around the globe have been exciting. I find it delightful that both modern and classical ballets continue to challenge the status quo and push creative boundaries. There is an amazing vibrancy in ballet and **while some new interpretations can disappoint, the creativity is not diminished.** We as an audience have the incredible luxury of enjoying a truly global landscape of diverse, beautiful work. My darlings, **remember to always embrace the bold and the unusual. Who knows what new creative frontiers will be waiting for us this year!**