Frankenstein
If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continua a leggereWorld-class review of ballet and dance.
As a dance viewer, it’s easy to get swept up in the grand movements in a piece, glossing over the finer details. But when a piece leans into the minutiae, using small movements and motifs to drive home a central theme, it’s usually quite memorable. Ririe-Woodbury Dance Company’s 60th anniversary season closer, “Ascent,” was full of glorious details.
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If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continua a leggereIt’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
Continua a leggereAs I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
Continua a leggereMisty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
Continua a leggere
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