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
Last week the New York City Ballet premiered the newest Ratmansky work. This week, the new… Balanchine? The company’s latest program is full of offbeat revivals: two B-sides from the house’s founder and a Jerome Robbins deep track too. It was must-see viewing for ballet nerds, who were out in full force. If I may speak for our kind, it didn’t disappoint. Though I do wonder if the casual ballet-goer was as entertained.
Adrian Danchig-Waring in Jerome Robbins’ “Concertino.” Photograph by Erin Baiano
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