People, Places, and Things
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
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).
Performance
Place
Words
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
Continua a leggereThe annual Dancing the Gods Festival of Indian Dance celebrated its fourteenth and final year with a generous finale May 16-18. This final event extended for three evenings instead of the usual two.
Continua a leggereSomething old, something new, something borrowed, and something “Blue.” The premise of Australasian Dance Collective’s fortieth anniversary celebration stems from the traditional divisions of time.
Continua a leggereShadows, dark matter and the enigmas of consciousness—the ideas behind Crystal Pite’s “Frontier” are timely and timeless at once.
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