On one of the first warm days of late March, Fifth Avenue pedestrian traffic was teeming outside the Guggenheim, ubiquitous Mister Softee truck idling at the curb. Down the avenue, people posed for photos on the steps outside the Met and Central Park resembled the Seurat painting that inspired “Sunday in the Park with George,” while a crowd of some two hundred seventy dance lovers found their way down a ramp to the Guggenheim’s circular theater to sit in the dark for one of two sold out presentations on Bronislava Nijinska’s ballet from 1923, “Les Noces,” presented by Works & Process.
Jenna Rae Herrera, Victoria Vassos, and Jazz Khai Bynum of Ballet West in "Les Noces" by Bronislava Nijinska. Photograph by Erick Munari
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