As innovative as the Joffrey Company was and remains, this doc is shockingly pedestrian. We are told more of the company's greatness than we are shown; the statically shot archival footage is too often narrated over or edited into shreds, seldom pausing long enough to let the dance speak for itself. Recently, the brilliantly stirring doc Pina showed how powerfully dance can be utilized on film, but here it's subordinate to the narrative. Director Bob Hercules doesn't show lots of muscle, preferring information to emotion, a curious choice in a movie about passionate people in an expressive art form, forever laboring for love.
Wednesday, April 11
Posted 12 April 2012 - 11:07 AM
Posted 12 April 2012 - 11:08 AM
But though her technique was stellar as always including one extension on balance that drew not only gasps but also stunned laughter for its virtuosity the piece itself grew tiresome. Not from the expert dancing, not even from the choreography, really, but from the harsh and monotonous score by David Morrow, and the lighting.
Forsythe likes to play with concepts of performance, with dancers sometimes acting and even speaking as if they are in rehearsal. He also plays with lighting for example, in one piece, beginning the dancing with the houselights fully on. In Rearray it was the opposite the dancers sometimes performed in dusk, even in pitch-black.
Posted 12 April 2012 - 11:14 AM
Though part of a centuries-old Swiss opera establishment, this ballet company presents contemporary work and new work based on classical repertory to our youngish city. The program surrounds the choreography of a relative newcomer to the ballet creator circle, Benjamin Millepied. The recipient of worldwide attention for his work in the recent Hollywood psycho-drama, "Black Swan," a former principal dancer with the New York City Ballet and the recently appointed director of the L.A. Dance Project, the French-born 34-year-old artist has re-imagined early 20th century Michel Fokine romantic ballets "Les Sylphides" and "Le Spectre de la Rose" for these engagements.
Posted 12 April 2012 - 11:17 AM
Pennsylvania Ballet receives a fundraising boost towards construction of its new headquarters.
Michael Scolamiero, the Pennsylvania Ballet’s executive director, says the state funding — which is matched dollar-for-dollar from locally raised funds — will pay for demolition of buildings on the site, where Brinks once had armored car garages, and construction of new studios and the ballet school (see previous story).
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