Journey into Worlds
According to her program notes, Sharon Chohi Kim was inspired by murmurations—“both spontaneous flocks of starlings and a collection of low, continuous sounds”—in her premiere (one-night only) of the same name.
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From the opening moments, Jasmin Vardimon's “Pinocchio” resonates with the kind of magic you only encounter in theatre. One after the other the performers rise from the floor, hand in hand, their bodies straight and stiff, mechanically tipping in turn like the wooden figurines of an old town square clock. It’s an enduring image of this show—and it is one of many.
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Jasmin Vardimon Company perform “Pinocchio.” Photograph by Tristram Kenton
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According to her program notes, Sharon Chohi Kim was inspired by murmurations—“both spontaneous flocks of starlings and a collection of low, continuous sounds”—in her premiere (one-night only) of the same name.
PlusWe enter the cavernous Wade Thompson Drill Hall of the Park Avenue Armory to an oblong stage area flanked by seating on the long sides, emulating the sightline of Anna Wintour and her corps of high couture fashionistas at Fashion Week.
PlusLondon City Ballet returned to Sadler’s Wells last weekend with a programme of rarely seen works by Balanchine, Ratmansky, Scarlett, and Melac. Still in the early stages of its revival—the company originally folded in 1996 and relaunched just last year—it was a daring offering, and one that more than delivered.
PlusTwo years ago Jonathan Watkins, choreographer and former dancer with the Royal Ballet, founded a new venture: Ballet Queer.
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