By Sanjoy Roy When narrative dance works well, it’s gripping: the story is embodied in the performance. When it doesn’t, it looks like much ado about something or other: we sense the physicality but not the story. Like Water for Chocolate, Christopher Wheeldon’s new three-act work for the Royal Ballet (a co-production with American Ballet
By Jeannette Andersen Live performance has been almost non-existent in Munich during the pandemic. Theatres have been closed since March 2020 except for September and October. But with falling infection numbers, curtains rose again at the end of May to limited audiences equipped with negative COVID-19 tests and face-masks. This does not mean, however, that