Marie-Agnès Gillot is one of a kind, one in a million. She has arms and legs for days, which she sinuously moves like tentacles, spectacular extensions which she uses as air-piercing arrows and a stage charisma that could hypnotize you from the highest gallery seat. A Guillem-like dancer of intense virtuosity, she had world-class potential. But she’s never completely made the most of it and her final “Boléro” translates just that. Her 20-minute solo indeed read like a resigned swan song: yet, a beautiful one.
Marie-Agnès Gillot in Maurice Bejart's “Boléro” for Paris Opera Ballet. Photograph by Little Shao / Paris Opera Ballet
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Plus
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Plus