It is circles I see, and always have, whenever I listen, and often I do, to Piotr Illyich Tchaikovsky’s “Swan...
The mad beating of wings at your windowpane, a harbinger of death, the ultimate lost soul; a peacock’s feather in the house, unlucky you’ll be.
Time and transformation are the threads that bind this new production of the Australian Ballet’s “Cinderella.”
“Bella Figura,”for its rawness, directness, and intimacy, is one of the most beautiful things I have ever seen.
Seeing this work recently performed by the Australian Ballet as a double bill with Marius Petipa’s “Paquita” serving as an irresistible 19th-century classicism appetiser, is like discovering a much sort after time machine.
The London-based choreographer Arthur Pita adapted “The Metamorphosis” for the stage in 2011 under the auspices of the Royal Ballet, with the hyper-flexible principal Edward Watson in the person—and bug—of white-collar drone Gregor Samsa.
