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Talent Time
REVIEWS | Rachel Howard

Talent Time

It’s “Nutcracker” season at San Francisco Ballet—36 performances packed into three weeks—which means that the company is currently serving two distinct audiences.

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Icons of Paris
REVIEWS | Elsa Giovanna Simonetti

Icons of Paris

If Notre-Dame remains one of the enduring symbols of Paris, standing at the city’s heart in all its beauty, much of the credit belongs to Victor Hugo.

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Mishima’s Muse
REVIEWS | Karen Greenspan

Mishima’s Muse

Japan Society’s Yukio Mishima centennial series culminated with “Mishima’s Muse – Noh Theater,” which was actually three programs of traditional noh works that Japanese author Yukio Mishima adapted into modern plays.

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Robot Love
REVIEWS | Kris Kosaka

Robot Love

I’m in the audience of the Pit to watch Kaori Ito’s solo performance, “Robot, l'amour éternel.” It’s in the blackbox performing space at the New National Theatre Tokyo, intimate and close. The stage is an open, raised platform,  gauzy white fabric covering the floor.  

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Everything Is Romantic
REVIEWS | Rebecca Deczynski

Everything Is Romantic

An enchanted forest, a love gone wrong, and a swarm of women in long white tutus—when a formula works, it really works. Such is the case of “La Sylphide,” the nearly 200-year-old Romantic ballet which first premiered in 1832.

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In the Land of Loki
REVIEWS | Faye Arthurs

In the Land of Loki

In 1954, George Balanchine created a “Nutcracker” that was based on the classical Mariinsky production he danced in his childhood, utilizing the neoclassical style he honed in NYC. His version has become so renowned that in 1993, his name and the trademark symbol have been added to the title (even on the merch).

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