To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.” To the legend of Margot Fonteyn and Rudolf Nureyev, dovetails Amy Harris’s Marguerite, in Harris’s last stage role before her retirement. After 22-years with the company, Harris bids farewell in a delicious camellia-bloom, echoing Marguerite’s own departure (thankfully for altogether different reasons; Harris is retiring from the stage, whereas her character Marguerite is dying of tuberculous).FREE ARTICLE
George Balanchine’s 1967 ballet “Jewels”—in which each act is inspired by a different semi-precious gem—has proven a touring warhorse. In 2013, the Bolshoi Ballet came to London with the Balanchine classic. In 2017, the Lincoln Center Festival made history by inviting the Paris Opera Ballet, the Bolshoi Ballet, and the New York City Ballet (the company on which the work was originally made) to share the stage and perform an act each. And on last Saturday night, it was the Australian Ballet’s turn, dancing “Jewels” at the Royal Opera House on their first tour to London since 1988.
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continue Reading