The second piece, Jerome Robbins' 1945 "Interplay," was a more robust affair. Robbins' second ballet is an astounding piece of moving architecture and rarely has intricacy looked so easy.
Designed for four couples, "Interplay" kneads jazzy inflections into classical and contemporary steps for an every-changing set of abstractions. Yet the physical games, flirtations, teasing and jaunty competitions suggested a high school playground during more innocent times. They infused Robbins' rigor with a pulsating sense of life in which a girl (Jing Zhang) could pick her own partner (an awe-shucks Jeremy Kovitch) for the Pas de deux.
Saturday, March 3
Posted 03 March 2012 - 04:13 PM
Posted 03 March 2012 - 04:15 PM
The performance will feature four virtuoso company premieres: the world premiere of the balcony scene from Company Director Douglas Martin’s new Romeo and Juliet; a major revival of Gerald Arpino’s Confetti; a world premiere by ARB Resident Choreographer Mary Barton; and Trinette Singleton’s Capriccios.
Martin has choreographed a new version of the traditional ballet Romeo and Juliet, which is based on Shakespeare’s famous play. Spring into Love will give a sneak peek into this new full ballet, featuring the romantic balcony scene pas de deux.
Posted 03 March 2012 - 04:18 PM
Posted 03 March 2012 - 04:28 PM
Dance inspired by the feverish imagination of a Winnipeg filmmaker, a public dance with umbrellas in downtown Vancouver and a new full-length work by Ballet BC are among the highlights of the spring 2012 season in dance in Metro Vancouver.
Posted 03 March 2012 - 04:30 PM
Long-lasting relationships provide the greatest rewards. Two striking works by choreographers with lengthy associations with the Boston Ballet, Jorma Elo and Jiri Kylian, struck a resounding chord Thursday evening at the Opera House in the company’s newest production, “Play with Fire.”
The works are not new, and that was the point. Elo’s “Sharper Side of Dark” is a re-choreographed version of a similarly title piece that premiered 10 years ago, and Kylian’s galvanizing “Bella Figura,” danced just last year, showed how dancers and choreographers grow in interpretive power.
Posted 06 March 2012 - 02:02 AM
“New Work” sees ballet as a dark, exhausting art form. The women are all on pointe, but the technique is restricted to the basics. There’s no modulation; they’re either up on their toes or they’re down. After about an hour and a half, the full cast returns to the stage, followed quickly by a blackout. It’s as if Lock started when the music began, kept going until it ended and finished by running out of gas.
Posted 06 March 2012 - 11:43 AM
Thompson tells WENN, "I was in American Ballet II when I was 20 and Baryshnikov was the head of that and it came the moment when he had to say whether we would advance to the company or not. He said, 'You're a lovely dancer but you're too stocky.'
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: