"I think for me the high point is that I don’t see Boston audiences as having any limitations. When I got here everybody was telling me what I couldn’t do and people warned me to play it safe. But I have found people extremely open and willing to explore and I’m really thrilled about that."
Archive - July 2012
A 40-hour round trip to watch a ballet gala on the other side of the world might be seen as a trifle obsessive by some and perhaps it is. But galas tend to be two a penny these days and this one was certainly very different, both in terms of being in aid of a unique and wonderful cause and in the spectacular diversity of remarkable dancing...
Bausch is a mystery. To some, she represents the summit of poetry and expression, worthy of a cult-like following. Clearly, these dancers derive great emotional sustenance from performing her work. And it suits them. But, with the exception of Gillot’s solo and a few moments here and there, it left me cold.
18 pictures by Dave Morgan...
pictures by Dave Morgan...
Seeing the programme twice confirmed my initial impression that Trespass is the best-wrought work. The other two ballets are interesting as concepts rather than as polished productions. But the programme’s emphasis on creativity and collaboration means that Monica Mason’s farewell contribution to the art form in which she has invested her considerable energy will carry on germinating ideas long...
Ould-Braham had just been made étoile and her performance seemed, to me, buoyed by an extra layer of joy and happiness. Hoffalt was completely at ease in both technique and characterization. When they celebrated their wedding onstage, the audience went crazy.
Principal of the Mikhailovsky Ballet, Natalia Osipova, will make her Royal Ballet debut in Swan Lake later this year...
The story is clearly narrated and easy to follow. Harangozo’s choreography is proficient overall though not particularly inventive. The two pas de deux are warm though lacking emotional depth.
‘We do not describe a city’, Bausch is quoted as saying. ‘We describe the feelings we have picked up there.’
The arrival of the wilis takes one’s breath away. Not only are they individually beautiful, with their soft port-de-bras and milky-white shoulders, but they are all eerily the same, in every way: same size, same build, same arms, same tilt of the head, same gaze, same feet.
It is a fabulous evening, funny, sexy and as fast paced as a thriller. This is Bourne’s finest and most inventive work.
After the dreary bombast of Alexei Ratmansky's recent Firebird for American Ballet Theatre, the Balanchine/Robbins version, with its blessedly shorter score (Stravinsky's Firebird Suite), heavenly Chagall designs and the great Ashley Bouder in one of her first great roles, was a welcome palliative.
36 pictures by Dave Morgan...
Nicolas Le Riche was fabulously predatory in Bolero, a raging furnace of self-love and sex appeal. One imagines that after the show he must have ravaged a hundred virgins, but maybe he simply went home and soaked his feet in the tub, but in any case, he was magnificent, good taste (and choreography) be damned.
Ten or so years ago, I was watching ABT soloist Gennadi Saveliev dance Lankendem, the red-pajamad slave-dealer in ABT's nicely condensed Le Corsaire, when he uncorked a step that made my jaw drop.
Wayne McGregor’s spectacular new dance piece, BIG DANCE TRAFALGAR SQUARE 2012, involving 1,000 performers from 30 London groups will take place on Saturday 14 July in Trafalgar Square, as the finale of Big Dance 2012...
The Chicago Dancing Festival today announces that free tickets for the Festival’s 6th annual series of dance performances will become available to the general public beginning Tuesday, July 17.
Half-hidden behind pillars or leaning against brick walls were isolated figures in Tyvek paper suits, nursing private angst, waiting their turn to claim our space. Sometimes only the dancers’ coloured outfits distinguished them from disoriented white-clad spectators, dazzled by beams of light.
For Immediate Release The Royal Ballet’s Ryoichi Hirano and Alexander Campbell have been promoted to First Soloists in the recent Company promotions. Ryoichi, 28 from Japan, joined The Royal Ballet in 2002 and was promoted to Soloist in 2008. Sydney-born Alexander, 25, joined the Company as a Soloist at the beginning of this season . Congratulations also go to Beatriz Stix-Brunell, Claire...