Ismene Brown

Ballet critics are not writing for dancers

Some fans of Jonathan Ollivier, the fine dancer who was killed on his motorbike recently on the day he was to perform one of his best roles, the brooding sexpot in Matthew Bourne’s The Car Man, have been mourning that he wasn’t alive to see his glowing obituaries.

Separately, I see that last week Rupert Pennefather of the Royal Ballet suddenly decided to leave ballet, aged 34.

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