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
While performing arts organizations around the globe were decidedly hard hit by Covid-19 during the last 15 months, dancers and choreographers, whose physical bodies are literally on the line in their work, suffered particularly severe losses. Enter, then, Kristy Edmunds, executive and artistic director of CAP UCLA, a position she’s held since 2011, and one that has provided a platform for critical innovators in all disciplines of artistic practice.
Lucinda Childs' Choreographers' Score for CAP UCLA
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