Onegin, Twogin, Threegin
Late January/early February sees London awash with Onegins. The Royal Ballet are performing John Cranko’s take on Pushkin’s famous tale, The Royal Opera are simultaneously presenting Kasper Holten’s new production of Tchaikovsky’s opera and, more experimentally, the Barbican are showing Companhia de Dança Deborah Colker’s fresh look at the story, Tatyana. One almost feels compelled to write a letter about it.
Taking a break from exclusively using Tchaikovsky to shadow the Russian rogue’s desires, Colker also utilises Rachmaninov, Stravinsky, Prokofiev and a dash of contemporary music to enhance her Brazilian company’s renowned energetic risk-taking and highly physical engagement with their work. The set looks pretty striking too.