Cathy Marston's Sense of Narrative
I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
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World-class review of ballet and dance.
Cold, immovable violence is rooted at the heart of Johan Inger’s “Carmen.” Drawing from Prosper Mérimée’s 1845 novella, Inger’s timeless version of “Carmen” revels, as it was originally written,[1] Carmen’s death, at the hands of Don José, as chillingly intentional. In Inger’s hands, her death is no operatic, heated crime of passion, and, consequently, he, too, displays his original source material in an unapologetically matter-of-fact way. On opening night at the Regent Theatre, the Australian Ballet took up this renowned tale with the precision of a blade.
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I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
PlusTimes are hard for ballet. With national funding that favours the new and the bold, ticket prices rising, and accusations of elitism, only a fool would start a company focused on works of the past.
PlusIt was a grand night of show and—well, show more—as eight members of L.A. Dance Project strutted their gorgeous, technically brilliant stuff in the US premiere of “Gems.”
PlusBefore founding the Seoul International Dance Festival, Lee Jong-Ho began his career as a journalist.
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