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Thursday, May 5


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A review of Australian Ballet by Chantal Nguyen for Bachtrack.


It's a little hard to describe the choreography of Kunstkamer, which – true to its celebratory genesis – strikes with innovation and overwhelms you in nostalgia all at once. Lightfoot calls it “a beautiful monster” because it is made of many parts, but the assembly of those parts is so masterful that the work feels enriched rather than disjointed. Commemorative nods to the NDT legacy of Jiří Kylián and the Lightfoot-León partnership are strong throughout, and (as expected) most obvious in the Lightfoot-León sections: the clown-like faces, the use of guttural spoken word and breathing, doors and walls that come to life, and the fascinating use of highly abstract movement to convey deeply relatable emotions.


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