In 1890s London, George Bernard Shaw's music reviews frequently took ballet to task. How weary he was of illogical plots and the empty virtuosity of what he referred to as "teetotum spins." After one disheartening visit to the Empire in 1892, he yearned for dance to find its Wagner: " . . . what I want now is dance-drama." He didn't have long to wait. In 1900, Isadora Duncan hit London as a free spirit, animating great paintings and great music with her own elemental longings. A few years later, Mikhail Fokine and his colleagues in Diaghilev's Ballets Russes began to demand realism in fantasy and to expand ballet's subject matter... More >>>