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
This new programme from Akram Khan—one of the UK’s foremost contemporary choreographers—is a look into both the past and future. Khan and Farooq Chaudry, producer at Akram Khan Company, have invited four young dancers of colour to present self-choreographed solos that reflect on their heritage and explore the evolving language of contemporary dance. Drawing on genres as diverse as hip-hop and folk dance, their work forms a ‘portrait of otherness’ that encourages innovation of form and promotes visibility of lesser-heard perspectives—something Khan has strived to champion with his own company over the years.
Ching-Ying Chien's “Vulture.” Photograph by Julien Martinez Leclerc
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