Rachel Mann originally studied ballet and dance at the University of Utah before switching from performance to academics. She received a doctorate writing about the connections between nineteenth-century ballets and novels. She is currently a freelance writer/editor living in Paris where she continues to see much dance and is now starting to write for DanceTabs.
Under are the articles written for DanceTabs.
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.
The actual Roméo and Juliette sections of Waltz’s work are captivating, but when they stop dancing, it’s harder to remain invested in what’s going on around them. Even in an abstract version of Roméo et Juliette, Romeo and Juliet remain the focal points.
As Manon, Dupont started out as sweet and innocent. Overall, her Manon seemed almost empty, like a vessel for people to put eroticism into or to act upon.
While all the young people were lovely to watch, Roxane Stojanov, the girl in yellow, stood out. She had the fullest extension of arms and upper body, the lushest movement quality. It would seem great things are expected of her, as she was cast in every part of the program.