Star Dust
We are all of us, beings, in a constant state of continual change. We humans are a composition of oxygen, carbon, and hydrogen.
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George Balanchine’s 1967 ballet “Jewels”—in which each act is inspired by a different semi-precious gem—has proven a touring warhorse. In 2013, the Bolshoi Ballet came to London with the Balanchine classic. In 2017, the Lincoln Center Festival made history by inviting the Paris Opera Ballet, the Bolshoi Ballet, and the New York City Ballet (the company on which the work was originally made) to share the stage and perform an act each. And on last Saturday night, it was the Australian Ballet’s turn, dancing “Jewels” at the Royal Opera House on their first tour to London since 1988.
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We are all of us, beings, in a constant state of continual change. We humans are a composition of oxygen, carbon, and hydrogen.
Continue ReadingThe title of Catherine Tharin’s latest production, “In the Wake of Yes,” is a reference to “Molly Bloom’s Soliloquy,” an inner monologue on womanhood and sexuality, from James Joyce’s Ulysses. Tharin matches the tone of this work as she picks up on an exuberant string of “yeses” from that text. Her witty series of dances explores romance and its complications. At the center of the show is a film by Lois Robertson that lifts the dancers out of the tiny East Village stage and transports them (and us) to scenes of contemporary New York City. Tharin, who danced with the...
Continue ReadingThrough its newly opened program, “Other Dances,” Dutch National Ballet kicks off the summer with a slate of lighthearted fare that varies in precise approach but altogether evokes an effervescent mood.
Continue ReadingTaking the historian’s long view, the message within “Last and First Men,” that “the whole duration of humanity, its evolution, and many successive species, is but a flash in the lifetime of the cosmos,” is, to me, ultimately a comfort.
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