"Agnes de Mille" tag
Natalia Osipova in Arthur Pita's The Wind.© Foteini Christofilopoulou, courtesy the Royal Opera House. (Click image for larger version)

Royal Ballet – The Illustrated ‘Farewell’, The Wind, Untouchable – London

★★★✰✰   Kevin O’Hare is commissioning choreographers who want to make use of what the Opera House can offer; he’s not setting out to declare where ballet ought to be heading and he’s not playing safe.

Emma Love Suddarth and William Lin-Yee in Crystal Pite’s Plot Point.© Angela Sterling. (Click image for larger version)

Pacific Northwest Ballet – Her Story: Her Door to the Sky, Afternoon Ball, Plot Point – Seattle

★★★★✰   Suspense be damned. I’m just going to give away the ending of this review: Crystal Pite’s Plot Point, which closes Pacific Northwest Ballet’s Her Story triple bill, is a terrific piece of dance-theater.

Zaloa Fabbrini and Alessio Passaquindici in Roland Petit's L'Arlésienne.© Dominique Jaussein. (Click image for larger version)

Ballet Nice Mediterranee – Grand Pas Classique from Raymonda, Gnawa, L’Arlesienne – Nice

★★★✰✰   The most interesting item of the programme was definitely the revival of Roland Petit’s L’Arlésienne, created in 1974 when he was director of the National Ballet of Marseille.

Jack Lister in Natalie Weir's We who are left.© David Kelly. (Click image for larger version)

Queensland Ballet – Lest We Forget: We who are left, Company B, In the Best Moments – Brisbane

★★★★✰   Natalie Weir’s “We who are left” is nothing less than a knockout.

New York City Ballet in Serenade.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Serenade, Hallelujah Junction, Duo Concertant, Western Symphony – New York

★★★★✰   Balanchine himself once said that Serenade is “many things to many people.” If it is one thing to City Ballet, it is the single ballet which they are expected to do perfectly every time.

Deborah Lohse and Mark Gindick in Doug Elkins' Hapless Bizarre.© Jamie Kraus for Jacobs Pillow 2014. (Click image for larger version)

Fall For Dance Festival at City Center – Programs 1 and 2 – New York

For twelve years, the Fall for Dance festival has been going strong, and one can see why. No other dance series offer such an expansive, egalitarian and uncomplicated glimpse of what’s going on in dance…

New York Theatre Ballet in Ashton's Capriol Suite.© Yi-Chun Wu. (Click image for larger version)

New York Theatre Ballet – Capriol Suite, Two Timing, Cat’s Cradle, Such Longing, Dark Elegies – New York

The program presented at St. Mark’s this past week reflects all of these positive developments; even more, it seemed infused with a new sense of assurance and identity.

Misty Copeland and Alexandre Hammoudi in Romeo and Juliet.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Romeo and Juliet (Copeland/Hammoudi) – New York

The million-dollar question for any dancer on the cusp is this: can they carry an evening-length story ballet? The answer, on the evidence of Copeland’s début in Romeo and Juliet, is yes.

Joseph Gorak in Études.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – 75th Anniversary Gala – New York

American Ballet Theatre know how to do a Gala and this was their 75th Anniversary as well – Everybody seemed to have a good time says Marina Harss…

Misty Copeland and Brooklyn Mack in Swan Lake.© Theo Kossenas. (Click image for larger version)

Washington Ballet – Swan Lake – Washington

This handsomely-crafted and well-danced Swan Lake marked an important milestone for the Washington Ballet and proved a huge achievement for its artistic director Septime Webre.

Xiomara Reyes in Rodeo.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Theme and Variations, Pillar of Fire, Rodeo – Washington

Nothing can ignite a cowboy’s imagination better than the fluttery ruffles of a voluminous skirt…

NYCB in Justin Peck’s ‘Rode,o: Four Dance Episodes.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Pictures at an Exhibition, ‘Rōdē,ō: Four Dance Episodes, Mercurial Maoeucres – New York

‘Rōdē,ō: Four Dance Episodes premiere: It turns out that this combination of male vigor, Copland, and Peck is a felicitous one.

Xiomara Reyes and Sascha Radetsky in Coppélia.© MIRA. (Click image for larger version)

American Ballet Theatre – Coppélia – New York

The three dancers who took their leave this week – Sascha Radetsky, Yuriko Kajiya and Jared Matthews – are all soloists. Each led a different cast of the company’s 1997 production of Coppélia.

Alice Renavand in Fall River Legend.© Anne Deniau. (Click image for larger version)

Paris Opera Ballet – Fall River Legend, Miss Julie – Paris

…an unusual choice of bill. Unusual firstly as the work of two women choreographers, and secondly in that it gives audiences a rare chance to see ballets from the extremely interesting and creative period of the 1940’s and 1950’s, now sadly neglected.

Susan Jones.© Sarah Sterner. (Click image for larger version)

Susan Jones – Ballet Mistress, American Ballet Theatre

My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets…

Virginia Johnson.© Rachel Neville. (Click image for larger version)

Virginia Johnson – Artistic Director, Dance Theatre of Harlem

Wherever Virginia Johnson goes, she seems to travel on a cloud, with a kind of regal composure few possess in our day. She appears imperturbable…

Fernando Alonso, The Father Of Cuban Ballet book cover.© University Press of Florida. (Click image for larger version)

Book – Fernando Alonso, The Father of Cuban Ballet by Toba Singer

This book serves as a timely tribute to an incredible man whose vision and dedication to his art has established one of the world’s finest classical ballet systems.

Polina Semionova and Marcelo Gomes in Alexei Ratmansky's Symphony #9.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – New Ratmansky, Symphony #9 – New York

Tonight’s premiere of Ratmansky’s newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.

Kristi Boone in In the Upper Room.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Drink, Cruel World, Stars/Stripes, Rodeo, Pavane, Upper Room – New York

The highlight of the gala was the seventieth-anniversary performance of Agnes De Mille’s Rodeo, preceded by a short film describing its creation, with archival footage of the hilariously histrionic, diminutive choreographer.

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