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
Andrea Miller’s Gallim Dance returned to the Joyce Theater, in New York, with a generous program titled “Bodies of Matter” that celebrated the company’s fifteen years. Miller’s body of work wrestles with nothing short of the dimensions of human experience. The work is defined by a rigorous creative process that Gallim dancers described, in a post-show Q&A, as “an honest collaboration.” This involves open-ended improvisation, movement generation exercises, and collective decision-making. The movement language continually reinvents itself, and that is why I am always in the audience.
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