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DUKAS_189707849_EYE
Like Water For Chocolate
Francesca Hayward (Tita) and Kristen McNally (Nacha) in Like Water For Chocolate by Christopher Wheeldon @ Royal Opera House. A Royal Ballet and Opera production.
(Opening 01-10-25)
©Tristram Kenton 09-25
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DUKAS_183569752_EYE
Balanchine: Three Signature Works review - visions of perfection
An immensely satisfying tribute to the choreographer is full of invention, emotion and dazzling precision.
Marianela Nunez and Reece Clarke in Symphony In C from Serenade, Prodigal Son and Symphony In C part of Balanchine: Three Signature Works by The Royal Ballet @ Royal Ballet and Opera House.
(Opening 28-03-25)
Tristram Kenton / Guardian / eyevine
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DUKAS_183569746_EYE
Balanchine: Three Signature Works review - visions of perfection
An immensely satisfying tribute to the choreographer is full of invention, emotion and dazzling precision.
Cesar Corrales in Prodigal Son from Serenade, Prodigal Son and Symphony In C part of Balanchine: Three Signature Works-Royal Ballet-RBO
(Opening 28-03-25)
Tristram Kenton / Guardian / eyevine
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DUKAS_183569754_EYE
Balanchine: Three Signature Works review - visions of perfection
An immensely satisfying tribute to the choreographer is full of invention, emotion and dazzling precision.
Mayara Magri in Serenade from Serenade, Prodigal Son and Symphony In C part of Balanchine: Three Signature Works by The Royal Ballet @ RBO.
(Opening 28-03-25)
Tristram Kenton / Guardian / eyevine
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DUKAS_183569753_EYE
Balanchine: Three Signature Works review - visions of perfection
An immensely satisfying tribute to the choreographer is full of invention, emotion and dazzling precision.
A scene from Serenade from Serenade, Prodigal Son and Symphony In C part of Balanchine: Three Signature Works by The Royal Ballet @ RBO.
(Opening 28-03-25)
Tristram Kenton / Guardian / eyevine
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©Tristram Kenton -
DUKAS_183569755_EYE
Balanchine: Three Signature Works review - visions of perfection
An immensely satisfying tribute to the choreographer is full of invention, emotion and dazzling precision.
Lauren Cuthbertson in Serenade from Serenade, Prodigal Son and Symphony In C part of Balanchine: Three Signature Works by The Royal Ballet @ Royal Ballet and Opera House.
(Opening 28-03-25)
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DUKAS_181681234_EYE
Ballerina Lauren Cuthbertson: 'There's a saying that dancers die twice, the first time when they stop dancing'
The Royal Ballet principal Lauren Cuthbertson on her late career debut, taking her daughters to work, and playing goodies and baddies.
Lauren Cuthbertson, guest principle ballet dancer at the Royal Ballet, Covent Garden, London.
Karen Robinson / Guardian / eyevine
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DUKAS_181681239_EYE
Ballerina Lauren Cuthbertson: 'There's a saying that dancers die twice, the first time when they stop dancing'
The Royal Ballet principal Lauren Cuthbertson on her late career debut, taking her daughters to work, and playing goodies and baddies.
Lauren Cuthbertson, guest principle ballet dancer at the Royal Ballet, Covent Garden, London.
Karen Robinson / Guardian / eyevine
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Karen Robinson -
DUKAS_180642124_EYE
Ballerina Lauren Cuthbertson: 'There's a saying that dancers die twice, the first time when they stop dancing'
Ballerina Lauren Cuthbertson: 'There's a saying that dancers die twice, the first time when they stop dancing'
The Royal Ballet principal on her late career debut, taking her daughters to work, and playing goodies and baddies.
Lauren Cuthbertson, guest principle ballet dancer at the Royal Ballet, Covent Garden, London, UK.
Karen Robinson / Guardian / eyevine
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Karen Robinson -
DUKAS_181681244_EYE
Ballerina Lauren Cuthbertson: 'There's a saying that dancers die twice, the first time when they stop dancing'
The Royal Ballet principal Lauren Cuthbertson on her late career debut, taking her daughters to work, and playing goodies and baddies.
Lauren Cuthbertson, guest principle ballet dancer at the Royal Ballet, Covent Garden, London.
Karen Robinson / Guardian / eyevine
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DUKAS_177192548_EYE
Royal Ballet: Legacy review - a joyous celebration of Black and Brown brilliance
Royal Ballet principal Joseph Sissens emphatically turns the spotlight on leading dancers of colour from around the world.
Precious Adams in Pass It On, World Premiere from Legacy by The Royal Ballet at the Linbury Theatre. Royal Ballet Principal in collaboration with Royal Ballet Director Kevin OíHare.
(Opening 29-10-24)
Tristram Kenton / Guardian / eyevine
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DUKAS_177192544_EYE
Royal Ballet: Legacy review - a joyous celebration of Black and Brown brilliance
Royal Ballet principal Joseph Sissens emphatically turns the spotlight on leading dancers of colour from around the world.
Emile Gooding and Caspar Lench in Within The Golden Hour from Legacy by The Royal Ballet at the Linbury Theatre. Royal Ballet Principal in collaboration with Royal Ballet Director Kevin OíHare.
(Opening 29-10-24)
Tristram Kenton / Guardian / eyevine
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DUKAS_177192545_EYE
Royal Ballet: Legacy review - a joyous celebration of Black and Brown brilliance
Royal Ballet principal Joseph Sissens emphatically turns the spotlight on leading dancers of colour from around the world.
Caspar Lench and Emile Gooding in Within The Golden Hour from Legacy by The Royal Ballet at the Linbury Theatre. Royal Ballet Principal in collaboration with Royal Ballet Director Kevin OíHare.
(Opening 29-10-24)
Tristram Kenton / Guardian / eyevine
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DUKAS_177192546_EYE
Royal Ballet: Legacy review - a joyous celebration of Black and Brown brilliance
Royal Ballet principal Joseph Sissens emphatically turns the spotlight on leading dancers of colour from around the world.
Joseph Sissens, Francisco Serrano and Caspar Lench in Chroma from Legacy by The Royal Ballet at the Linbury Theatre. Royal Ballet Principal in collaboration with Royal Ballet Director Kevin OíHare.
(Opening 29-10-24)
Tristram Kenton / Guardian / eyevine
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DUKAS_171320333_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
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DUKAS_171320345_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
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DUKAS_171320346_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
© Rii Schroer / eyevine
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DUKAS_171320332_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
© Rii Schroer / eyevine
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DUKAS_171320342_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
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DUKAS_171320343_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
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DUKAS_171320344_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
© Rii Schroer / eyevine
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DUKAS_171320331_EYE
Principal of the Royal Ballet Natalia Osipova
Principal of the Royal Ballet Natalia Osipova pictured at a Dance Studio at the Royal Opera House, London, UK.
13 June 2024
© Rii Schroer / eyevine
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DUKAS_169767451_EYE
The Winter's Tale - Royal Ballet’s powerful war of the worlds
Christopher Wheeldon strips Shakespeare's play of distractions in this boldly choreographed, nuanced masterpiece.
Joseph Sissens (Florizel) and Viola Pantuso (Perdita) in The Winter's Tale by Christopher Wheeldon and The Royal Ballet at the ROH.
(Opening 03-05-2024)
Tristram Kenton / Guardian / eyevine
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DUKAS_169767449_EYE
The Winter's Tale - Royal Ballet’s powerful war of the worlds
Christopher Wheeldon strips Shakespeare's play of distractions in this boldly choreographed, nuanced masterpiece.
Joseph Sissens (Florizel) and Viola Pantuso (Perdita) in The Winter's Tale by Christopher Wheeldon and The Royal Ballet at the ROH.
(Opening 03-05-2024)
Tristram Kenton / Guardian / eyevine
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DUKAS_164893346_EYE
Manon review - the Royal Ballet brings beauty to sordid snake pits of Paris.
Kenneth MacMillan's journey into a world of darkness is performed with consummate craft by a superb company.
Marcelino Sambe (Des Grieux) and Francesca Hayward (Manon) in Manon by The Royal Ballet at the Royal Opera House.
(Opening 17-01-2024)
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DUKAS_164893345_EYE
Manon review - the Royal Ballet brings beauty to sordid snake pits of Paris.
Kenneth MacMillan's journey into a world of darkness is performed with consummate craft by a superb company.
Gary Avis (Monsieur G.M.) and Francesca Hayward (Manon) in Manon by The Royal Ballet at the Royal Opera House.
(Opening 17-01-2024)
Tristram Kenton / Guardian / eyevine
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DUKAS_163746409_EYE
The Nutcracker by The Royal Ballet at The Royal Opera House
A scene from The Nutcracker by The Royal Ballet at The Royal Opera House.
(Opening 06-12-2023)
©Tristram Kenton 12-23
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DUKAS_162258924_EYE
The Cellist; The Limit review - a tale of two Royal Ballet dramas
Lauren Cuthbertson and Marcelino Sambe reprise their roles to glorious effect in Cathy Marston’s inspired paean to Jacqueline du Pre, while an adaptation of Sam Steiner’s hit play Lemons... feels squeezed.
Lauren Cuthbertson (Jacqueline du PrÈ), Marcelino SambÈ (The Instrument) in The Cellist by Cathy Marston part of the double bill, Anemoi/The Cellist by The Royal Ballet at the Royal Opera House.
(Opening 20-10-2023)
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DUKAS_162258908_EYE
The Cellist; The Limit review - a tale of two Royal Ballet dramas
Lauren Cuthbertson and Marcelino Sambe reprise their roles to glorious effect in Cathy Marston’s inspired paean to Jacqueline du Pre, while an adaptation of Sam Steiner’s hit play Lemons... feels squeezed.
Lauren Cuthbertson (Jacqueline du PrÈ), Marcelino SambÈ (The Instrument) in The Cellist by Cathy Marston part of the double bill, Anemoi/The Cellist by The Royal Ballet at the Royal Opera House.
(Opening 20-10-2023)
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DUKAS_156914797_EYE
Royal Ballet triple bill review - McGregor and Wheeldon at the top of their game
Wayne McGregor's incisive new ballet conjures the very brushstrokes of the late Carmen Herrera; Bernstein meets Les Sylphides in a muscular Christopher Wheeldon revival; and Laura Morera bows out in style.
A scene from Untitled, 2023 by Wayne McGregor and The Royal Ballet at the Royal Opera House.
(Opening 09-06-2023)
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DUKAS_156617534_EYE
Royal Ballet triple bill review – a fascinatingly icy Wayne McGregor premiere. Untitled.
Laura Morera takes her final bow as Anastasia in a night that also includes Christopher WheeldonÕs winningly athletic Olympian ballet and McGregorÕs Untitled, 2023.
Melissa Hamilton and Harris Bell in Untitled, 2023 by Wayne McGregor and The Royal Ballet at the Royal Opera House.
(Opening 09-06-2023)
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DUKAS_148018951_EYE
The Nutcracker review - the Royal Ballet’s winter warmer
This sumptuously designed production is a treat if you don't dwell on the dramatic flaws and just enjoy the magical music and performances.
The Nutcracker ballet is famously flawed in dramatic terms, but Tchaikovsky's twinkling score has given it eternal life. We come here to be cosily coddled with reassurance and fantasy and a warm winter glow, and the Royal Ballet's production by Peter Wright (made in 1984, revised in 1999) delivers.
Wright's slant on a nut that has been cracked every which way since 1892 is to put at its centre the magician Drosselmeyer.
A scene from The Nutcracker by Peter Wright @ Royal Opera House. A Royal Ballet production.
(Opening 06-12-2022)
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DUKAS_148018950_EYE
The Nutcracker review - the Royal Ballet’s winter warmer
This sumptuously designed production is a treat if you don't dwell on the dramatic flaws and just enjoy the magical music and performances.
The Nutcracker ballet is famously flawed in dramatic terms, but Tchaikovsky's twinkling score has given it eternal life. We come here to be cosily coddled with reassurance and fantasy and a warm winter glow, and the Royal Ballet's production by Peter Wright (made in 1984, revised in 1999) delivers.
Wright's slant on a nut that has been cracked every which way since 1892 is to put at its centre the magician Drosselmeyer.
A scene from The Nutcracker by Peter Wright @ Royal Opera House. A Royal Ballet production.
(Opening 06-12-2022)
© Tristram Kenton / Guardian / eyevine
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DUKAS_147242925_EYE
"The Rite Of Spring" from the "Triple Bill" by The Royal Ballet
Emily Suzuki (Daughter), far right, in The Rite Of Spring by Mats Ek from the Triple Bill by English National Ballet at the Sadler's Wells
(Opening 09-11-2022)
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DUKAS_147242904_EYE
"The Rite Of Spring" from the "Triple Bill" by The Royal Ballet
Erina Takahashi in The Rite Of Spring by Mats Ek from the Triple Bill by English National Ballet at the Sadler's Wells
(Opening 09-11-2022)
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DUKAS_147242947_EYE
"The Rite Of Spring" from the "Triple Bill" by The Royal Ballet
A scene from The Rite Of Spring by Mats Ek from the Triple Bill by English National Ballet at the Sadler's Wells
(Opening 09-11-2022)
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DUKAS_147242923_EYE
"The Rite Of Spring" from the "Triple Bill" by The Royal Ballet
Emily Suzuki (Daughter), kneeling, in The Rite Of Spring by Mats Ek from the Triple Bill by English National Ballet at the Sadler's Wells
(Opening 09-11-2022)
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DUKAS_147242941_EYE
"The Rite Of Spring" from the "Triple Bill" by The Royal Ballet
Fernando Carratala? Coloma (Bridegroom) and Emily Suzuki (Daughter) inThe Rite Of Spring by Mats Ek from the Triple Bill by English National Ballet at the Sadler's Wells
(Opening 09-11-2022)
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DUKAS_146263127_EYE
Light of Passage review - mesmerising moves from Crystal Pite
A scene from Light Of Passage by Crystal Pite at the Royal Opera House. A World Premiere by The Royal Ballet.
(Opening 18-10-2022)Bodies full of yearning ... Light of Passage at Royal Opera House, London.
With shimmering music and a signature use of massed bodies, Pite transforms her acclaimed Flight Pattern into a full-length.
When Canadian choreographer Crystal Pite created Flight Pattern for the Royal Ballet in 2017, she proved you could use ballet to illuminate pressing real-world issues - in this case the plight of refugees - in a way that wasn't trite or melodramatic but teeming with authentic emotion.
© Tristram Kenton / Guardian / eyevine
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DUKAS_145943995_EYE
Light of Passage review - mesmerising moves from Crystal Pite
A scene from Light Of Passage by Crystal Pite at the Royal Opera House. A World Premiere by The Royal Ballet.
(Opening 18-10-2022)Bodies full of yearning ... Light of Passage at Royal Opera House, London.
With shimmering music and a signature use of massed bodies, Pite transforms her acclaimed Flight Pattern into a full-length.
When Canadian choreographer Crystal Pite created Flight Pattern for the Royal Ballet in 2017, she proved you could use ballet to illuminate pressing real-world issues - in this case the plight of refugees - in a way that wasn't trite or melodramatic but teeming with authentic emotion.
© Tristram Kenton / Guardian / eyevine
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DUKAS_146263128_EYE
Light of Passage review - mesmerising moves from Crystal Pite
A scene from Light Of Passage by Crystal Pite at the Royal Opera House. A World Premiere by The Royal Ballet.
(Opening 18-10-2022)Bodies full of yearning ... Light of Passage at Royal Opera House, London.
With shimmering music and a signature use of massed bodies, Pite transforms her acclaimed Flight Pattern into a full-length.
When Canadian choreographer Crystal Pite created Flight Pattern for the Royal Ballet in 2017, she proved you could use ballet to illuminate pressing real-world issues - in this case the plight of refugees - in a way that wasn't trite or melodramatic but teeming with authentic emotion.
© Tristram Kenton / Guardian / eyevine
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_145943994_EYE
Light of Passage review - mesmerising moves from Crystal Pite
A scene from Light Of Passage by Crystal Pite at the Royal Opera House. A World Premiere by The Royal Ballet.
(Opening 18-10-2022)Bodies full of yearning ... Light of Passage at Royal Opera House, London.
With shimmering music and a signature use of massed bodies, Pite transforms her acclaimed Flight Pattern into a full-length.
When Canadian choreographer Crystal Pite created Flight Pattern for the Royal Ballet in 2017, she proved you could use ballet to illuminate pressing real-world issues - in this case the plight of refugees - in a way that wasn't trite or melodramatic but teeming with authentic emotion.
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Light of Passage review - mesmerising moves from Crystal Pite
A scene from Light Of Passage by Crystal Pite at the Royal Opera House. A World Premiere by The Royal Ballet.
(Opening 18-10-2022)Bodies full of yearning ... Light of Passage at Royal Opera House, London.
With shimmering music and a signature use of massed bodies, Pite transforms her acclaimed Flight Pattern into a full-length.
When Canadian choreographer Crystal Pite created Flight Pattern for the Royal Ballet in 2017, she proved you could use ballet to illuminate pressing real-world issues - in this case the plight of refugees - in a way that wasn't trite or melodramatic but teeming with authentic emotion.
© Tristram Kenton / Guardian / eyevine
Contact eyevine for more information about using this image:
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_145304959_EYE
Mayerling review - astounding from beginning to end
Kenneth MacMillan's bleak psychological period piece is a gift for the Royal Ballet’s dancers, who take turns in performances of gripping, in-the-moment power.
Powered by a score of Liszt excerpts assembled by John Lanchbery (and played with passion by the orchestra under Koen Kessels), set by Nicholas Georgiadis among glowing autumnal colours, its imaginative, inventive confidence is truly astonishing.
Ryoichi Hirano (Crown Prince Rudolf) and Natalia Osipova (Baroness Mary Vetsera) in Mayerling by Kenneth MacMillan @ Royal Opera House. A Royal Ballet production.
(Opening 05-10-2022)
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Mayerling review - sex, drugs and revolution in the Royal Ballet's superb staging
Edward Watson finds sympathy for the doomed prince while Sarah Lamb gives one of the performances of her career in MacMillanÕs unsparingly brutal ballet.
Mayerling is surely the richest, if not the most popular of Kenneth MacMillanÕs story ballets. Created in 1978, it looks and sounds like a conventionally mainstream work, with its swags of period costume and lush Liszt score. Yet as it voyages into an emotional wasteland of sex, psychosis and addiction, its choreography yields an unsparingly brutal account of human nature.
Ryoichi Hirano (Crown Prince Rudolf) and Natalia Osipova (Baroness Mary Vetsera) in Mayerling by Kenneth MacMillan at the Royal Opera House. A Royal Ballet production.
(Opening 05-10-2022)
© Tristram Kenton / Guardian / eyevine
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_145304979_EYE
Mayerling review - astounding from beginning to end
Kenneth MacMillan's bleak psychological period piece is a gift for the Royal Ballet’s dancers, who take turns in performances of gripping, in-the-moment power.
Powered by a score of Liszt excerpts assembled by John Lanchbery (and played with passion by the orchestra under Koen Kessels), set by Nicholas Georgiadis among glowing autumnal colours, its imaginative, inventive confidence is truly astonishing.
Ryoichi Hirano (Crown Prince Rudolf) and Natalia Osipova (Baroness Mary Vetsera) in Mayerling by Kenneth MacMillan @ Royal Opera House. A Royal Ballet production.
(Opening 05-10-2022)
© Tristram Kenton / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_145304981_EYE
Mayerling review - astounding from beginning to end
Kenneth MacMillan's bleak psychological period piece is a gift for the Royal Ballet’s dancers, who take turns in performances of gripping, in-the-moment power.
Powered by a score of Liszt excerpts assembled by John Lanchbery (and played with passion by the orchestra under Koen Kessels), set by Nicholas Georgiadis among glowing autumnal colours, its imaginative, inventive confidence is truly astonishing.
Ryoichi Hirano (Crown Prince Rudolf) and Francesca Hayward (Princess Stephanie) in Mayerling by Kenneth MacMillan @ Royal Opera House. A Royal Ballet production.
(Opening 05-10-2022)
© Tristram Kenton / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_145304980_EYE
Mayerling review - astounding from beginning to end
Kenneth MacMillan's bleak psychological period piece is a gift for the Royal Ballet’s dancers, who take turns in performances of gripping, in-the-moment power.
Powered by a score of Liszt excerpts assembled by John Lanchbery (and played with passion by the orchestra under Koen Kessels), set by Nicholas Georgiadis among glowing autumnal colours, its imaginative, inventive confidence is truly astonishing.
Itziar Mendizabal (Empress Elisabeth), centre, in Mayerling by Kenneth MacMillan @ Royal Opera House. A Royal Ballet production.
(Opening 05-10-2022)
© Tristram Kenton / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_145304958_EYE
Mayerling review - astounding from beginning to end
Kenneth MacMillan's bleak psychological period piece is a gift for the Royal Ballet’s dancers, who take turns in performances of gripping, in-the-moment power.
Powered by a score of Liszt excerpts assembled by John Lanchbery (and played with passion by the orchestra under Koen Kessels), set by Nicholas Georgiadis among glowing autumnal colours, its imaginative, inventive confidence is truly astonishing.
Ryoichi Hirano (Crown Prince Rudolf), Francesca Hayward (Princess Stephanie), Itziar Mendizabal (Empress Elisabeth) and Christopher Saunders (Emperor Franz Joseph) in Mayerling by Kenneth MacMillan @ Royal Opera House. A Royal Ballet production.
(Opening 05-10-2022)
© Tristram Kenton / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
DUKAS_145647126_EYE
Mayerling review - sex, drugs and revolution in the Royal Ballet's superb staging
Edward Watson finds sympathy for the doomed prince while Sarah Lamb gives one of the performances of her career in MacMillanÕs unsparingly brutal ballet.
Mayerling is surely the richest, if not the most popular of Kenneth MacMillanÕs story ballets. Created in 1978, it looks and sounds like a conventionally mainstream work, with its swags of period costume and lush Liszt score. Yet as it voyages into an emotional wasteland of sex, psychosis and addiction, its choreography yields an unsparingly brutal account of human nature.
Ryoichi Hirano (Crown Prince Rudolf), Francesca Hayward (Princess Stephanie), Christopher Saunders (Emperor Franz Joseph) and Itziar Mendizabal (Empress Elisabeth) in Mayerling by Kenneth MacMillan at the Royal Opera House. A Royal Ballet production.
(Opening 05-10-2022)
© Tristram Kenton / Guardian / eyevine
Contact eyevine for more information about using this image:
T: +44 (0) 20 8709 8709
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(FOTO: DUKAS/EYEVINE)
© Guardian / eyevine. All Rights Reserved. -
