Lifted Spirits
Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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The festive lights have been switched off and the Christmas trees kicked to the curb, but sparkle can still be found this side of the holidays in English National Ballet’s glittering “Swan Lake.” Derek Deane’s production, devised in 1997, is rich in detail and spirit, a glossy vehicle for Marius Petipa’s nineteenth-century classic. There are times when its busyness verges on hectic, and when the staging reveals itself as more suited to Deane’s original in-the-round conception than the London Coliseum’s proscenium set-up, but the show’s lustrous veneer outshines these weaknesses, capturing the sugary splendour that keeps “Swan Lake” at the forefront of the classical pantheon.
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Jurgita Dronina and Isaac Hernández in “Swan Lake” Photograph by Laurent Liotardo
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Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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