For anyone who grew up wanting to be a ballet dancer, there is a stunning exhibition at the Royal Academy of Arts that will bring those childhood dreams alive: Degas and the Ballet: Picturing Movement.

The extensive collection features more than 85 paintings and sculptures of dancers, many of whom were ballet dancers based at the Paris Opéra during the late 1800s.  Edgar Degas was known as the Painter of Dancers and he was fascinated by the study of movement, especially that of dancers bodies.

His works show ballet dancers rehearsing in the studio, performing on stage and preparing off stage. Degas interprets them in such an intimate way that you feel you are also in the room. 

Some of my favourite pieces include Dancers in Blue and Three Dancers, as well as Degas’ famous bronze sculpture Little Dancer Aged Fourteen. The latter is based on a series of 20 drawings of a live model from different angles – a technique known as photosculpture.

Degas also experimented with photography, which was a fairly new medium at the time, and three of his only known photographs are displayed at the exhibition.

Degas and the Ballet: Picturing Movement at the Royal Academy of Arts until the 11 Dec 2011. Book tickets

Everyone has something that makes them feel specially festive around this time of year. Maybe it’s the Christmas lights going up around London, or your first mince pie, for me it is the English National Ballet’s production of The Nutcracker. Every year The Coliseum hosts this wonderfully Christmassy show, and this year is their best production yet.

The show celebrates 60 years of the English National Ballet in true style and splendour, with a new, world premiere production. Wayne Eagling’s choreography is meticulous but measured and shows the dancers to be confident and daring. Even the youngest dancers stand out as having exceptional talent, tip-toeing their tiny feet across the massive stage. I was delighted to find that the production is, once again, using live singing for the snowflake chorus… 20 or so kids stand tall in the box closest to the stage singing their hearts out.

Peter Farmer has created a magical design for the story that plays with the central themes of fantasy and fun. Last year The Nutcracker had a cartoon feel, Farmer has replaced this with an image of Victorian elegance, and an air of romantic nostalgia. I am so glad that this classic has been returned to its rightful character, attempts to modernise it damage the magic of the show.

The Nutcracker is on until Thursday 30 December, matinee and evening performances available most days. Buy tickets to The Nutcracker

Serge Diaghilev caused a storm in the early 20th century with his Ballet Russes – a collective of dancers, artists and designers who shocked audiences and revolutionised the art world. Picasso, Matisse, Chanel, Jean Cocteau, Nijinsky and Stravinsky were among his collaborators.

A new exhibition at the Victoria and Albert Museum follows the career of Diaghilev and the Ballet Russes, featuring costumes, backdrops, photos, paintings, posters and programmes from the era.

I had a sneak preview this morning and my favourite exhibits were the spectacular costumes, many designed by famous names such as Picasso and Matisse. Some are based on traditional Russian dress, while others are weird and wacky, even by today’s standards, and must have constrained the dancers’ movements considerably.

Another highlight was the enormous back cloth for The Firebird, which is the largest object in the V&A. There’s also a massive front cloth based on the Picasso painting Two Women Running on the Beach.

The Ballet Russes show is a must for art and dance fans. One word of warning: allow a few hours to explore the exhibition as there’s loads to see.

Diaghilev and the Golden Age of the Ballet Russes 1909-1929 is at the Victoria and Albert Museum from 25 September to 9 January

This weekend promises to be an exciting one with both Covent Garden and London Transport Museum celebrating their birthdays, and of course, England’s big game tonight:

• Watch England play Algeria in style at Everyman Hampstead cinema. 18 Jun 2010
• Explore Proud Camden‘s “living jungle” at their new weekly Tales of the Unexpected: The Forbidden Forest party. 18 Jun 2010
• Celebrate Covent Garden’s 180th birthday with one big weekend-long party. 18-20 Jun 2010
• If you missed out on Sonar tickets, head to the Big Chill Bar’s So NOT Barcelona event which promises enough beats and bass to make your forget all about Spain. Until 19 Jun 2010
• Take the kids to Battersea Park for a Mad Hatter’s Tea Party with a free performance of Wayne Sleep’s Wonderland – scenes from Alice. Albert Gate, Battersea Park, 12-4pm, 19 Jun 2010

Celebrity choreographer and TV talent show judge Arlene Phillips joined 50 young dancers at Sadler’s Wells this morning to launch the Big Dance Bus.

The bus is touring London in the run-up to Big Dance, a nine-day festival of dance at unusual venues across London in July.

“I love the words Big Dance,” says Phillips. “People, I’m sure, from all over the country will join this big event. Everyone can get up and dance.”

The bus will roll out its mobile dance floor at 16 locations around London, with performances and a chance to have a go at various dance styles, from ballet to waltz, tango to contemporary.

You’ll also be able to learn the Big World Dance routine, which will be performed by thousands of people on the streets of London on 10 July, culminating in a huge event in Trafalgar Square.

The Big Dance Bus tours London from 21 May until Big Dance week (3-11 July 2010). Find out more at www.bigdance2010.com

The Royal Ballet’s triple bill of Agon, Sphinx and Limen at the Royal Opera House last night was an interesting lesson in the how modern classical ballet has developed. It was also, unexpectedly, an insight into the behaviour of today’s ballet audience…

The programme seemed designed to educate, starting with Balanchine’s Agon – choreographed in the 1950s, then moving to Glen Tetley’s 1977 work Sphinx, and finishing with Wayne McGregor’s brand new ballet, Limen.

Agon felt very much in line with the avant garde art movements of the late 50s and early 60s. It was apparently quite revolutionary for its time. However, the stark look (costumes were basic black leotards), feel (no discernible storyline) and soundtrack (Stravinsky) left me a bit cold. And my next-door neighbours must have been completely frozen; they didn’t return after the interval.

Sphinx started off a lot better – there was actually a set. And quite an impressive one too, with two gorgeous, sweeping wings made of metal and glass, and a gleaming “altar” in between. Edward Watson as Anubis stole the show for me here – looking incredible and otherworldly even when he removed his Egyptian dog-god mask.

Limen by the Royal Ballet Company‘s resident choreographer Wayne McGregror also began promisingly. A scrim with digital numbers floating across it fronted the stage, while dancers were randomly illuminated in puddles of light behind. Unfortunately, this show of technology prompted another near neighbour to bust out her digital camera, the glowing screen of which proved such a distraction I had to politely remind her it wasn’t a rock concert, while physically restraining my friend from biffing her one.

Situation averted, we settled back to the ballet, which was a celebration of lighting effects, block colours and clever movement. Thinking about it afterwards, I could see the correlation between all three ballets – each one visionary for its time; pushing the boundaries, while drawing on tradition. I might not have loved Agon but you could see that without Baly’s Ballet back then, we wouldn’t have the McGregor of today.

A quick straw poll at VL towers of audiences behaving badly has people chatting, texting, snoring and even vomiting in the theatre. What’s the weirdest thing that you’ve experienced as an audience member?