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
To give an idea of Cunningham—the heightened attention his dances afford, at the base of which is a faith that every atom of life counts, though it may skitter by too fast to be counted—I sometimes turn to Bruegel’s Landscape with the Fall of Icarus. The farmer is behind his plough, the shepherd has turned from his flock to gaze abstractedly at a leafy tree, the merchant ship rushes toward the bright horizon with the wind bowling the sails, when Icarus drowns. In Cunningham, Icarus would go unnamed—no myth to add import to a boy’s drop into a smudge of sea.
Calvin Royal III in excerpt from “Scenario” a part of 92Y's Harkness Dance Festival, 2019. Photograph by Julie Lemberger
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