A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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“That was beautiful, but I didn’t get it,” was a refrain Brett Ishida got used to hearing in the audience at dance performances. At the time, Ishida, a former dancer, was studying for her degrees in English and education. She says the comment made her consider the potential in the journals and written narratives she’d been keeping for years—and provided her with the unlikely inspiration to create dances that would resonate with audiences.
“I thought, ‘I would love to create works that are really relevant, that are something that people in modernity can really understand and relate to,’” she remembers. Her observation—and the drive it created—turned into the ethos behind Ishida Dance Company.
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
Continue ReadingEntering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
Continue ReadingIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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