"It's completely unknown territory. You turn up, see (dancers) in class, watch a few performances, pick people and hope you click with them."
What bothers me about this is the short period of time the choreographers get to work with the dancers and familiarize themselves with the company, and the amount of time they're actually given to choreograph. It all sounds too much like the Diamond Project, perhaps even worse.
Then comes Glentzer's review.
Wow, she makes ballet sound all so boring.
The edgiest ballet today is European. Mrozewski's spent time there, and The Great Attractor shows it...It's a neo-Balanchine leotard ballet with a fresh attitude.
Pointe shoes and leotards give way to street clothes and European dance socks for the Second Movement...
A woman in a white gown (Kim Wagman), trailing a long net train, runs frantically on and off in a huge circle, very Pina Bausch-like.
How is this "pushing the envelope" when the choregraphy can be so easily compared to those of others?
Just what the dance world needs, another masochistic ballet. Yawn. Been there, done that.
Thank you Glentzer, for before reading your overly glorifying review, I had actually considered going to see the Cullen Series this afternoon. I, the ever closed-minded and unsophisticated balletomane, sit impatiently and wait for the Nutcracker to roll around.