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Sunday, July 10


dirac

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A review of Birmingham Royal Ballet by Graham Watts for Bachtrack.

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Acosta has shaped his Don Quixote into a Birmingham Royal Ballet vehicle of great dancing, comedic characterisation and seamless momentum. He once told me that men in Cuban audiences remained in the bar after the first interval because the second act was so uninteresting and Acosta’s many embellishments are clearly intended to keep it entertaining, ranging from live guitar music, vocal utterances of the performers and the removal of the Gypsy leader’s shirt (an ebullient performance by Javier Rojas partnering Eilis Small in a sensual duet). These simple expedients bring a dramatic sense of theatre to the proceedings.     

 

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A review of American Ballet Theatre by Erin Bomboy for Bachtrack.

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My issue with King’s choreography isn’t with his movement, but with his lack of development. Four dancers folding their bodies like origami grip my imagination. Yet, a minute or so later, they’ve ambled off stage, and it’s back to more thwacking développés – drink! Like a rectangle of used plastic wrap, a transparent backdrop descends to form a tunnel across the stage’s back. Several dancers glide through it, but that’s the extent of its importance. The curtain closes on a slinky pas de deux (a medium in which King dominates) for Isabella Boylston and Thomas Forster, but why end here on this? Where’d everyone else go?

 

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