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
At dawn on September 11th, the Josie Robertson Plaza at Lincoln Center was quiet and still. Only the fountain glistened in the subtle light of morning, and the tan and gray stone ground was cool to the touch. All of a sudden, at 8:15am, the stone began to heat up. The sun had risen, but the warmth was coming from somewhere else: A call was made from a pink conch shell whose sound expanded into the atmosphere and summoned a hurricane of white to encircle the plaza. Hundreds of bare feet dashed around and around the fountain, surrounding the space and transforming it into sacred ground.
Table of Silence Project choreography by Jacqulyn Buglisi, Buglisi Dance Theatre. Photograph by Paul B. Goode
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