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
Merce Cunningham would have turned 100 in 2019, a centennial that’s seen institutions around the world flock to commemorate the prodigious American choreographer. There have been exhibitions, seminars, master classes and of course performances, including the ambitious “Night of 100 Solos,” commissioned by the Merce Cunningham Trust and featuring 75 artists dancing in tandem across three cities.
CCN-Ballet de Lorraine in Merce Cunningham's “Sounddance.” Photograph by Laurent Philippe
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