Dancing in Circular Time
Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
Continua a leggereWorld-class review of ballet and dance.
Stephen Petronio has an odd way of celebrating his 40th anniversary. He and his board have decided this season will be the company’s last. “A lot of our funding sources dried up at the end of pandemic,” he says. “A lot came at us during the pandemic, and when it was over money started going to places that weren’t Stephen Petronio. It got drastic very quickly.” As part of the closure, the organization also sold the Petronio Residency Center, in the Catskill Mountains, that since 2017 has provided rare and essential space for dance artists to create.
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Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
Continua a leggereSir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.
Continua a leggereIf 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?
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