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
As someone who did time in the jazz and tap competition circuit and then Regional Dance America festivals, I was curious to see the Gala performance for the Youth American Grand Prix, which has become one of the biggest dance competitions in the world. The YAGP, in its 24th year, holds annual events in 30 American cities and 15 international ones, giving out half a million dollars in scholarships. I’ve recently covered the more conventional pathways to a dance career: junior troupes and institutional workshops. The YAGP provides yet another route to professional employment, particularly for students who reside outside of metropolitan dance hubs. As board member Sergei Gordeev stated in his introductory speech: presently, 60 of American Ballet Theater’s 93 dancers are YAGP alums, and “over a dozen” former competitors are currently in the New York City Ballet.
Chloe Misseldine performs a solo from "William Tell" at YAGP. Photograph by Jennifer Wingrove
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