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dirac

Friday, March 17

4 posts in this topic

Reviews of the Royal Ballet.
The Guardian

 

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It’s been 18 years since a woman last choreographed a ballet for the Opera House main stage. But as Crystal Pite breaks that unconscionably dry spell, the brave, gripping and beautiful work she has created could not be less open to charges of tokenism.

 

The Globe and Mail

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Flight Pattern (part of a triple bill that includes David Dawson’s The Human Seasons and Christopher Wheeldon’s After the Rain) is about the Syrian refugee crisis. I can’t state that simply enough because dance so typically works via metaphor and abstraction and the power of this piece is that it refuses to do that on a definitive level. Pite takes 36 dancers, dresses them in layers and shabby overcoats and casts them under falling light in a restricted space on stage. They move in a huge bedraggled cluster, exhausted and despairing, and while the cramped logistics mean they can’t actually cover much ground, we get the sense they’ve crossed miles, countries, years.........

 

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A review of the Russian Ballet Icons Gala by Jann Parry for DanceTabs.

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Staging Le Spectre de la Rose (no revival credit) was a mistake, with an ill-matched cast of Yulia Makhalina, at 49 apparently still with the Mariinsky, and Xander Parish, 18 years younger. He had the stamina (just) for the role of the spirit of the rose, but not the charisma. Only an Acosta or Nureyev could give a glimpse of the impression Nijinsky made. Lesser dancers should leave it well alone.

 

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Reviews of Houston Ballet.

 

CultureMap Houston

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In Legends and Prodigy old masters like Jiří Kylián and Hans van Manen find themselves in the excellent company of the precocious Justin Peck. It’s clear who’s a legend and who’s a prodigy, but each telescopes time in a marvelously different way.

 

Houston Press

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The entire corps de ballet got to be the true focus of the audience's attention in Year of the Rabbit. The choreography by Justin Peck actually allowed them to overwhelm the principals — actually as Peck designed the piece to do.  This work has been acclaimed everywhere it has been performed and dancers describe it as just fun to do.

 

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Sarasota Ballet puts off its revival of "Apparitions."

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But perhaps the biggest reason was the pressure Webb felt to do justice to the ballet and its creator. According to Webb, when the work was last performed, less than two years before Ashton's death, both the late British choreographer and audiences who saw its three performances were resoundingly disappointed in both the cast and the execution.

 

"So I was thinking, I need to make this work to the absolute max," Webb said. "I can't be responsible for putting the final nail in the coffin of 'Apparitions.'"

 

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