A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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In the ballet world, female choreographers remain, unfortunately and infuriatingly, the exception rather than the norm. Ballet British Columbia artistic director Emily Molnar shines a spotlight on this imbalance with a new bill of ballets from Crystal Pite, Sharon Eyal and herself—a welcome redress to a centuries-old deficit, made even more so by its cool absence of progressive intent. The programme champions women not by specifying feminist themes but by simply making space for female dancemakers to present their choreography—a resounding statement in itself.
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Artists of Ballet British Columbia in Crystal Pite's “Solo Echo.” Photograph by Michael Slobodian
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
Continue ReadingEntering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
Continue ReadingIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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