The entire Royal Ballet were back on stage and performing for a live audience last Friday in a gala style show which was/is also streamed. Jann Parry was mightily impressed with the dancing and repertoire (★★★★★) if not so much with the live audience experience in a Covid aware Opera House (★★★✰✰)
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★★★★✰ If Helgi Tomasson was hoping that Unbound: A Festival of New Works would generate heated debate on the state of ballet today, his wish has already been fulfilled just one night into the massive festival...
★★★★✰ One of the most attractive things about the production is the way it brings together various worlds: ballet, Broadway, and opera.
These are dancers worth following in a wide repertory of works; it’s a shame to see them go while feeling we’ve barely gotten to know them better.
Both Royal Ballet premieres, one by Kim Brandstrup, the other by Liam Scarlett, were surely keepers, bound to be seen again.
Justin Peck has gone from unknown corps-member to choreographer-of-the-moment in a blink of an eye. (He created his first piece for the company in 2012; this is his sixth.)
...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.
Sean Kelly enjoyed a nearly two decades-long career as a principal dancer with Houston Ballet, and then decided to try his hand at Musical Theater. He joined the casts and/or became Dance Captain in such shows as Carousel, Swing, Moving On and Billy Elliot. He was recently in the San Francisco Bay Area to set a new holiday swing-themed premiere on Diablo Ballet...
Every Fall For Dance program is a bit of a pot luck, which is part of the festival’s charm. This year it has been expanded to twelve of performances (each costing $15, up from $10 last year)...