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
“I'm interested in the democratization of dance and theater, and redefining what constitutes a stage—both aesthetically and socially.” That’s Sarah Elgart speaking, a force of nature who has been at the forefront of dance in L.A. as a choreographer, director and producer for more than three decades. Still model-thin with blue eyes and long blonde hair, Elgart has not only engaged audiences with site-specific projects that have transformed bus terminals, airports and museums into veritable action paintings, but she’s also choreographed for film, commercials and television, working with high-profile directors that include Catherine Hardwicke, David Lynch and J. J. Abrams.
Screen shot of Lillian Barbeito in "Motherlode" a music video for Angela Luna. Choreographed and directed by Sarah Elgart
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