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
Seeing dance up close and personal can be something thrilling—as long as the choreography and performers are up to terpsichorean snuff. That was mostly the case when the 12-member L.A. Dance Project performed Program C as part of its L.A. Dances Festival that ran for 10 days in November (Programs A and B ran September 26-October 25). A bold undertaking by the troupe founded by Benjamin Millepied in 2012, the festival featured six world premieres, 10 works and one revival.
Patricia Zhou and Daisy Jacobson in Bella Lewitzky’s “Kinaesonata.” 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