Feature - The Royal Ballet School recently danced a 'lost' Ninette de Valois ballet, "The Arts of the Theatre", reconstructed by Anna Meadmore. Jann Parry with a full report on an interesting excavation of the early days of British ballet.
Tag - La Valse
★★★✰✰ While Sarasota Ballet’s audiences in Florida may be familiar with much of the Ashton repertoire (more so than many British ballet lovers), international subscribers to Sarasota’s digital offerings have been able to catch up with some little-seen gems.
★★★✰✰ The emphasis here was on new. This was a night to check in on the creative efforts of two emerging voices on the ballet scene - Gemma Bond and James Whiteside.
Arthur Pita's latest work is called "Alice in Californiland" for the Bay Area AXIS Dance Company - to be premiered later this week, on Friday 25 October, Claudia Bauer caught up with him to find out what its all about - a thought provoking collision of Lewis Carroll and homelessness...
★★★★✰ The choice of works emphasised ensembles more than individuals. It was interesting to see large numbers of young men dancing together, as well as a more usual female corps de ballet.
★★★★✰ The show overall gave us a good slice of what ballet is in 2019, and just how adaptable the students need to be these days - exciting times for them and exciting for us in the audience as well.
★★★★✰ The Royal Ballet did themselves a lot of good with the last new bill of the season - a one-off celebration of Margot Fonteyn. There was much to be reminded of and be proud of.
★★✰✰✰ Could Liam Scarlett's monstrous Frankenstein be fixed with more, better surgery? Evidently not, in this revival, three years after its creation.
★★★✰✰ The good news is that Queen of Spades is a good-looking crowd pleaser and the RDB dancers look fantastic in it - I can't emphasise that enough. Also good that it's a step up from his last commission, Frankenstein - thank goodness, really.
Whiteny PR about the exhibition: "Artist Nick Mauss (b. 1980) presents Transmissions, a multidisciplinary work exploring the relationship between modernist ballet and the avant-garde visual arts in New York from the 1930s through ’50s."
Robert Barnett joined New York City Ballet in 1949. In those early years he worked closely with Balanchine and Robbins particularly before going on to direct Atlanta Ballet. Now 91 he is still actively involved in dance and passing on all he knows...
★★★★✰ This is dancing that makes one hungry for more.
★★★✰✰ Handsome to look at, with its film-noir lighting and flattering black 1940’s style dresses (by Marc Happel), Jeux nevertheless proves to be rather thin...
Jeux, has a distinctly adult atmosphere and a highly cinematic look. Actually, the look might be the most interesting thing about it...
After a week of modernist works by Balanchine set mostly to Stravinsky, Hindemith, Webern, there’s no denying that a night of French music falls sweetly on the ear.
In recent seasons New York City Ballet has gotten into the habit of starting things off with a week or two of Balanchine. It’s an excellent idea.
It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose...
Both as a tribute to Ashton and as a coming-out party, it’s hard to imagine how the festival could have gone better. The ballets are in good hands.
George Balanchine’s favorite composers may have been Stravinsky and Tchaikovsky, but it’s no secret that he also had an affinity for France and its music...
One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”