For many, the movement of the human body is something that can be innately understood. The shapes we make with our limbs have the power to share stories. And the meaning we find in these shapes—and in the dances we make when we combine them—is something that so easily speaks to the soul. Ballet West’s season closer triple bill, “The Wedding,” draws out each of these elements of dance’s ethos.
Artists of Ballet West in Bronislava Nijinska's “Les Noces.” Photograph by Beau Pearson
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