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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Philadelphia’s 17-year young BalletX has gifted the city with more than 100 world premiere contemporary ballets and then taken them on the road around the nation. Known for commissioning emerging and established choreographers from many countries, it has had some great successes. Among them, Rena Butler’s breathless “The Under Way,” which Covid relegated to film, Annabelle Lopez Ochoa’s staggeringly original “Castrati,” Tobin Del Cuore’s marvelous “Beside Myself,” and numerous delights from its co-founder and long-time resident choreographer for the Philadelphia Ballet, Matthew Neenan. Not to mention choreographers of the stature of Nicolo Fonte, Kevin O’Day, and the inimitable Jodie Gates with three commissions.
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Ashley Simpson and Jonah Delgado in “Umoja” by Tiler Peck. Photograph by Arian Molina Soca
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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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