Creative Risk
If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
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Northern Ballet's critically-acclaimed adaptation of “The Great Gatsby,” now in its tenth year, is back on May 16th at Sadler's Wells. With superb choreography from David Nixon CBE, audiences are sure to be dazzled by their highly visual, pulse-raising production, which promises to go deep into the scandals, decadence, wild parties and heart-rending tragedies. Above all, the piece will explore the huge moral ambiguity at the heart of the classic Jazz Age drama.
Dominique Larose as Daisy and Javier Torres as Gatsby in “The Great Gatsby.” Photograph by Emma Kauldhar
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If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continue ReadingIt’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?
Continue ReadingAs 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.
Continue ReadingMisty 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.
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