It’s been three years since American Ballet Theatre last stepped onto the stage of the Metropolitan Opera House, three years since it rolled out its well-worn productions of evening-length story ballets. The Met season is a kind of hit parade, and the current run is no different: It begins with the festive pseudo-Spanish extravaganza “Don Quixote” and ends with Kenneth MacMillan’s tear-jerker “Romeo and Juliet.” With, in the middle, no less than twelve performances of “Swan Lake.” The exceptions to this succession of super-familiar works are Ratmansky’s new “Of Love and Rage,” which opens next week, and a mixed bill that includes a new ballet by Alonzo King, running July 7-9.
Catherine Hurlin in “Don Quixote.” Photograph by Rosalie O’Connor
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading