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
By late summer in NYC the big hometown ballet troupes have followed their well-heeled supporters to their summer playgrounds in Vail, Nantucket, the Hamptons, and Saratoga Springs. What a treat then to have stars of the Royal Ballet present four different programs at the Joyce Theater in the doldrums of August. Kevin O’Hare, the company’s artistic director, curated the opening lineup and also invited current principals Lauren Cuthbertson and Edward Watson as well as former dancer/current designer Jean-Marc Puissant to arrange the other three—an interesting and generous idea. The first two bills ran last week, and though they were rather lightweight that was not such a bad thing; they were a nice counterpoint to the seasonal haze.
Aran Bell and Devon Teuscher in Gemma Bond's ”Seventy Two Hours.” Photograph by Maria Baranova
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