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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Ballets don’t come much sweeter than “The Sleeping Beauty.” The Petipa classic is a sparkling confection of sequins and tulle, its three acts fizzing with dulcet duets and variations. Kenneth MacMillan’s 1987 version, staged here by English National Ballet, cuts through some of the fluff but is honeyed all the same, with plenty of sugary frolics swirled in. And the cherry on top? A guest turn from former Bolshoi Ballet prima Maria Alexandrova, whose perky expressiveness and top-notch technique impress mightily.
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English National Ballet in Kenneth MacMillan's “The Sleeping Beauty.” Photograph by Laurent Liotardo
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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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