Dancing in Circular Time
Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
PlusWorld-class review of ballet and dance.
Rambert’s latest bill, “Love, Art & Rock’n’Roll,” features works from three different choreographers, each corresponding to one of the titular motifs. There’s a fair bit of thematic crossover between Didy Veldman’s ‘art’ offering (“The 3 Dancers,” debuted earlier this autumn) and Kim Brandstrup’s ‘love’ (“Transfigured Night,” here receiving its London premiere): both are earnest in tone and romantic in subject—an intersection that somewhat sequesters Christopher Bruce’s jaunty 1991 Rolling Stones tribute, “Rooster” (in its final performance here). Thematic incongruity aside, the picks gave rise to some stellar opening night performances, with company favourites Dane Hurst and Miguel Altunaga shining particularly brightly—a testament to each one’s technical virtuosity and artistic versatility.
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Brenda Lee Grech, Daniel Davidson and Miguel Altunaga in Didy Veldman's“The Three Dancers.” Photograph by Tristram Kenton
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Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
PlusSir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.
PlusIf 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?
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