Creative Risk
If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
PlusWorld-class review of ballet and dance.
Jacqulyn Buglisi is not one to shy away from big ideas. For the thirtieth season of the company founded by four of the last generation to have worked directly with Martha Graham, Buglisi takes on human rights, world peace, forbidden love, and climate crisis in a program of seven works, including three premieres. There’s much to respect in the female-centric work and age-positive artists that Buglisi Dance Theatre presented at Ailey’s Joan Weill Center for Dance. It’s also a lot for a two-hour show.
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If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
PlusIt’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
PlusAs I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
PlusMisty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
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