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Wayne McGregor

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There's a TED talk somewhere in the ether of McG developing movement material with a couple of his dancers.  I remember it being quite engaging -- I'll see if I can find it.

He's been happy to experiment with technology for quite a long time, especially with his own ensemble.  They've come through Seattle several times, and I don't think I've ever seen them where they weren't using some kind of something.

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On 7/11/2019 at 10:51 PM, sandik said:


Thanks, Sandik. What perhaps impressed me most was how well he can dance his highly flexible and demanding style.

Yesterday evening in LA I saw his two new works, AI and the Dante Project, Part One and his older dance, Outlier.  They included eight members of his own company and over twenty members of the Royal Ballet. I thought that it was a solid and worthwhile event. Although I prize lyrical female beauty, as contrasted to the more male-centric, much more athletic Mc Gregor style, I would be interested in seeing the finished Dante Project.

As a suggestion, I would increase the stage lighting. I was sitting in the twelfth row and needed theater glasses to make out the detail.

The most exciting part of the evening was towards the end of the Dante Project when a large group of Royal Ballet men performed about five minutes of whirling dervish type spinning. It was perhaps the most exciting show of male bravura that I’ve seen in dance. It could well stand on its own as a classic.

The thing that for me gives his work a substance beyond the very well crafted pure motion is the sense of drama.


Edited by Buddy
grammar correction
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I was there for both performances in the front row and could watch Thomas Ades conducting the L.A. Philharmonic with great ebullience  (I am a big Ades fan).  For me, this evening of Ades-McGregor works was enthralling with exceptional dancing/performances from all the dancers.  As for Inferno, let me just say that I am now planning a trip to see the whole of The Dante Project next season in London, and am now reading Dante's The Divine Comedy.  I was thrilled with the work as it progressively unfolded, and the end was beautiful.     I do not want to cut any of the work into little pieces because it progresses as a whole, despite there being moments which are extraordinary - such as that mentioned by Buddy above, and an incredible solo section by Calvin Richardson, after both of which the audience exploded into applause, as the audience did as well at the end.  I have not seen The Royal Ballet live in performance in too, too long a time - the dancers are exceptional.   The expressive, great Edward Watson dances the Poet, and Gary Avis is Virgil - each giving meaningful performances.  Brilliant music, brilliant production values, brilliant dancing of brilliant choreography. 

Edited by Josette
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