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
DANCEworks, a month-long residency at the Lobero Theatre in Santa Barbara, has been attracting big-name choreographers for the past decade. It's easy to see why—where else can you create in a uniquely supportive environment, in a fully-equipped theatre, by the sea? The residency culminates with a performance of the work-in-progress, and many of these works have gone on tour across the U.S. and internationally. This year marks DANCEworks' tenth anniversary, and artistic director Dianne Vapnek has every reason to celebrate.
Doug Elkins choreography, etc., performing "Kintsugi" at DANCEworks. Photograph by David Bazemore
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