Guillaume Côté's new ballet, “Being and Nothingness” made its premiere alongside two-thirds of Alexei Ratmansky's “Shostakovich Trilogy.” Two quite different pieces to put together and yet the bill was a success. Côté's existential mood allowed the dancers to explore darker shades in vingettes, while Ratmansky's “Shostakovich Trilogy” kept a steady flow of movement.
Kathryn Hosier and Félix Paquet in Guillaume Côté's “Being and Nothingness.” Photo by Karolina Kuras
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading