Youthful Ideals
Artistic Director Miyako Yoshida’s “Giselle” for the National Ballet of Japan excavates emotional freshness within the familiar landscape of the 1841 Romantic classic.
Continua a leggereWorld-class review of ballet and dance.
On opening night of the world premiere of Christopher Wheeldon’s “Oscar” at the Australian Ballet’s new home for the next three years, the Regent Theatre (as the State Theatre undergoes renovations), I am catapulted from September 13, 2024 to April 26, 1885, and the commencement of the trial of Oscar Wilde. “Now as the jury files back into court,” narrates Seán O’Shea, “Oscar leaned over the dock, eagerly scanning the faces of the twelve good men and true, seemingly trying to read in their physiognomies his fate; no-one spoke, no-one hardly dared to breathe.” In the thick of it, we begin, and the effect is a kaleidoscopic tornedo. In the moment before the rise becomes the fall, “Oscar” teeters, and the effect is hypnotic, from start to finish.
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Artistic Director Miyako Yoshida’s “Giselle” for the National Ballet of Japan excavates emotional freshness within the familiar landscape of the 1841 Romantic classic.
Continua a leggereAt a baseline, good art should move you. At its peak, it can change you. I did not expect to come out of Ririe-Woodbury Dance Company’s season closer, Re-Act, a changed person, but that’s exactly the effect the performance—and particularly one work, Daniel Charon’s “From Code to Universe”—had on me.
Continua a leggereThe body as vessel; the body as memory container; the body as truth-teller. All of these corporeal permutations were on view at the UCLA Nimoy Theater last Thursday, when Eiko Otake and Wen Hui performed their haunting, elegiac and deeply meaningful work, “What is War.”
Continua a leggereIf ballet and politics were ever a thing, Houston Ballet principal Harper Watters is, perhaps, one of its staunchest advocates.
Continua a leggere
The actual year of Wilde’s trial was 1895 rather than 1885, as written in the review.