Alastair Macaulay: Ravel Emerges Clearer in Pink Tweed

Key Takeaways

• Tiberghien paired Ravel’s *Le Tombeau* with Couperin interludes
• National Theatre’s *Liaisons Dangereuses* added anachronistic choreography
• Lesley Manville reprises Marquise role after 40 years
• Almeida’s *A Doll’s House* updates cost £860k (~$1.1M) loan
• Modern tweaks risk diluting original thematic depth

Pulse Analysis

The Wigmore Hall concert demonstrated a growing appetite for cross‑era programming, as Cédric Tiberghien’s seamless alternation of Ravel and Couperin invited listeners to hear 18th‑century textures through a 20th‑century lens. By juxtaposing the neoclassical elegance of *Le Tombeau* with authentic Baroque pieces, the pianist not only showcased technical mastery but also sparked a conversation about how historical works can be re‑contextualized without losing their core identity. This approach resonates with a wider trend in concert halls seeking fresh narratives to attract younger, more eclectic audiences.

At the National Theatre, Christopher Hampton’s *Liaisons Dangereuses* leaned heavily into visual spectacle, employing Tom Jackson Greaves’s choreography to inject kinetic energy into the 18th‑century intrigue. While the anachronistic dance sequences amplified the play’s sensual undercurrents, critics argue they also dilute Laclos’s razor‑sharp social commentary. The casting of Lesley Manville—returning as the Marquise after four decades—adds a meta‑theatrical layer, yet the production’s emphasis on style over substance raises questions about the balance between innovation and fidelity in reviving classic dramas.

The Almeida’s reimagining of Ibsen’s *A Doll’s House* pushes the modernization envelope further, inserting a £860,000 (approximately $1.1 million) loan subplot, Instagram‑obsessed dialogue, and contemporary profanity. While these updates aim to make the 1879 feminist landmark relatable to Gen Z audiences, the overhaul arguably erodes the original’s nuanced critique of gender roles and personal autonomy. This case exemplifies a broader debate within theatre circles: how far can creators go in updating canonical works before the essence that made them timeless is lost? The answers will shape the future of classic repertory in an era hungry for relevance yet reverent of legacy.