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
Has any choreographer extracted as much value from the chug step as Mark Morris? Jerome Robbins came close in “Glass Pieces,” and George Balanchine gave chugs some big moments in “Apollo,” but Morris consistently uses the simple move to demonstrate a profound musicality. Chugs are inherently galumphing, but Morris wields them like a baroque architect. It’s as if he paints cathedrals with thick toddler crayons. Though it must be said, he pulls off the same trick with basic walking, running, skipping, etc. During week two of the Mark Morris Dance Group’s run at the Joyce (their first stint ever at the theater: how is that possible?), his ability to erect the sacred from the mundane was on wondrous display.
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