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
Glasgow's Barrowland Ballet have long explored the nuances of human interaction with style, grace and humour. The company often work with those from different backgrounds and age groups, and their own professional dancers are absolutely superb. Whiteout is definitely one of artistic director Natasha Gilmore's most intimate projects, as she was inspired by creating a humane piece which speaks to her own inter-racial marriage. Speaking in an interview in The List in 2015, she said to writer Kelly Apter, “This is one of those pieces I felt compelled to make . . . So I started to identify the common shared experiences.” It is a culmination of collaboration and stories from the cast, as well as Gilmore's friends and families.
Barrowland Ballet in “Whiteout”
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