Super Nothing
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
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Sassy lasses and frisky creatures abound in this double bill from the Royal Ballet, which pairs a restaging of Frederick Ashton’s 1961 “The Two Pigeons” with the premiere of Liam Scarlett’s “The Cunning Little Vixen.” The latter has been created on students from the Royal Ballet School, and marks the first time since 2010 (and second time ever) that the institution has given its pupils a professional turn on Covent Garden’s main stage.
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Beatriz Stix-Brunell and Matthew Ball in “The Two Pigeons” by Frederick Ashton. Photograph by Helen Maybanks / ROH
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In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
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