Modern classism meets childlike wonder in Graeme Murphy’s “The Happy Prince.” Murphy is an undisputed tour de force in Australian ballet. Arguably the most successful choreographer produced by our country, he is known for many of his works including “Air and Other Invisible Forces,” “The Silver Rose,” and, most notably, his restaging of “Swan Lake.” Murphy has also had a long and prosperous relationship with the Australian Ballet, so, to see the company begin their 2020 season with “The Happy Prince” is no great shock. The ballet itself, however, is an oddball of curiosities.
Adam Bull and artists of the Australian Ballet in “The Happy Prince.” Photograph by Jeff Busby
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
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