Creative Risk
If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continua a leggereWorld-class review of ballet and dance.
There’s something that performer Robert Clark is struggling to articulate. As he muddles through his opening speech in Charlotte Vincent's first all-male work for Vincent Dance Theatre, “Shut Down,” the enormity of the topic he is trying to comprehend becomes apparent. There’s a problem with the image of masculinity—that of the strong, unemotional, alpha male.
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Vincent Dance Theatre performing “Shut Down” at the Place. Photograph by Bosie Vincent
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If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continua a leggereIt’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
Continua a leggereAs I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
Continua a leggereMisty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
Continua a leggere
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