To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.” To the legend of Margot Fonteyn and Rudolf Nureyev, dovetails Amy Harris’s Marguerite, in Harris’s last stage role before her retirement. After 22-years with the company, Harris bids farewell in a delicious camellia-bloom, echoing Marguerite’s own departure (thankfully for altogether different reasons; Harris is retiring from the stage, whereas her character Marguerite is dying of tuberculous).FREE ARTICLE
No, but I spent two sunny afternoons in the Philadelphia Museum of Art for dances based on or in reference to one of the museum’s greatest assets, its permanent Duchamp collection, and, in its waning days, the stunning Jasper Johns: Mind/Mirror exhibit. PMA curators collaborated with dance artists to produce two weekends of live performance in the new Williams Forum, site of the awe-inspiring cantilevered Gehry staircase that replaces the small auditorium where I once saw the likes of Trisha Brown dance.
“Philadanco MinEvent” with choreography by Merce Cunningham. Photograph by Daniel Traub
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continua a leggere