A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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Let’s make one thing clear upfront: To see a LINES Ballet performance is to partake in wonders beyond measure, to have one’s senses reawakened by the dignity of humanity’s vulnerability, and this is as true now as it has been over many high points of the San Francisco company’s 35 year history. To watch Shuaib Elhassan pause in a pirouette, open-chested and generously alive, in startling harmony with the forces of physics, is life-affirming. To fill your eyes with this miracle while, playing live at the back of the stage, the Kronos Quartet’s richness fills your ears—this is rapture. So it feels ungrateful to report that something seems to go awry halfway through the new Kronos/LINES collaboration, “Common Ground.”
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Shuaib Elhassan and LINES Ballet dancers perform “Common Ground.” Photograph by Chris Hardy
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
Continue ReadingEntering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
Continue ReadingIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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