A Moving Prayer
In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.
Continua a leggereWorld-class review of ballet and dance.
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).
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In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.
Continua a leggereThe bubble machine is the first thing that hits you as you enter. There are bubbles everywhere. The second is the energy—families with babies and small children are crammed into every corner, bringing a kinetic force to the auditorium. It's pandemonium—all going off like popcorn in a pan.
Continua a leggereProgramming, like staging and choreography, is an art, and Ángel Corella surpassed himself with all three in this early spring show featuring all new works.
Continua a leggereIn some ways, dance could be considered an extreme sport: it meets many of the same criteria, featuring (at times) high speeds, significant risk, and the potential for severe injury. French choreographer Rachid Ouramdane seeks to reinforce this parallel in his new work “Outsider,” which received its UK premiere at Sadler’s Wells on March 26th as part of Dance Reflections by Van Cleef & Arpels.
Continua a leggere
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