When it comes to restaging canonical works, the process is extraordinarily complex. A myriad of difficulties can emerge depending on how much or how little a new work differs from the original ballet. Every aspect of the restaging—from form to characterisation and plot—does not exist in isolation; the theatrical elements are irrevocably tied to and haunted by the canonical predecessor. How a choreographer, then, approaches a restaging is uniquely singular them and their creative practice.
Paul Mathews in “Black Swan, White Swan” by Mário Radačovský. Photograph by Stephen A'Court
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading