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Sunday, May 15


dirac

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A review of Alonzo King Lines Ballet by Rachel Howard in The San Francisco Chronicle.

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Lines Ballet was back home, in the world premiere of Artistic Director Alonzo King’s “Deep River.”

The 65-minute dance, a collaboration with MacArthur genius grant-winning composer Jason Moran and Grammy-winning vocalist Lisa Fischer that continues through Sunday, May 22, is not the first time Lines Ballet has performed in San Francisco since the pandemic. But the company’s gala on Saturday, May 14, felt like a special homecoming as it marked its 40th anniversary.

 

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San Diego Ballet presents "Giselle."

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Classical ballet dancers covet the emotionally stirring and technically challenging roles of Giselle and Albrecht, played by recently wedded San Diego Ballet principals Stephanie Maiorano and Tonatiuh Gomez. Gomez was born in Mexico City and also serves as the president of Fundacion Tonatiuh Gomez, a nonprofit that supports artists and young dancers through workshops and alliances.

 

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A review of Kansas City Ballet in "The Wizard of Oz" by Hilary Stroh for Bachtrack.

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Webre’s partnership with Matthew Pierce on the score is brilliant, and nods to 1920s Big Band, 1950s Cool Jazz, 70s Glam Rock and Disco, as well as 1980s New Wave. And while we are never in doubt as to the fact that it is classical ballet we are seeing, Webre and Pierce are entirely comfortable with the comic possibilities of integrating less scripted forms. After all, we aren’t in Kansas anymore. There are lots of fun, dead-pan, deflationary ends, as ballet trails off into whimsy, nonsense or just plain goofiness. And who could fail to be charmed by the lovely touches of musical punctuation for example in oiling the Tin Man, when the strings played col legno? 

 

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