For 100 years, ballet has been represented by the image of a ballerina with a feathered headdress and an arm raised as a quivering wing. Then, in 1995, came Matthew Bourne’s Swan Lake, and ballet’s icon lost its long-held supremacy. The Swan Princess met her masculine match: a bare-torsoed, bare-footed, muscled Adonis in feathery trousers.
Disagree with half of it, enjoy reading all of it
TRY A MONTH FREE
Our magazine articles are for subscribers only. Try a month of Britain’s best writing, absolutely free.
Already a subscriber? Log in
Comments
Join the debate, free for a month
Be part of the conversation with other Spectator readers by getting your first month free.
UNLOCK ACCESS Try a month freeAlready a subscriber? Log in