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
This mixed bill takes its name from the daily barre classes Tiler Peck started hosting on Instagram Live during the 2020 lockdown, an impromptu venture that soon had 15,000 people tuning in to #turnitoutwithtiler. The New York City ballet superstar is a much-loved luminary, known for her sunny energy on and off stage. That vim comes through in this fizzing programme of new and recent work, Peck’s London debut, giving it a warmth that’s often missing from the contemporary ballet sphere, including in NYCB’s slick neoclassical house style.
Brooklyn Mack, Tiler Peck, Lex Ishimoto & Roman Mejia in “The Barre Project” by William Forsythe. Photograph by Geovanny Santillan
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