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Tuesday, June 4


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Oregon Ballet Theatre wraps up a popular season.

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Jewell said it was also, stories, that drew the big crowds this year.

“We did change our programming a bit, more focused on story ballets, full-length story ballets. Stories that people know,” Jewell said. “Our three main stage shows at the Keller, were Swan Lake, Nutcracker, and Peter Pan.”

 

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A review of Pacific Northwest Ballet in "Coppelia" by Moira Macdonald for The Seattle Times.

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On Friday’s opening night, principals Leta Biasucci and James Kirby Rogers played the lead couple, Swanilda and Franz, with an utterly charming playfulness; both have a way of lighting up the entire stage with their presence. Details in the performances stood out: Biasucci’s lovely little shrug, with the perfect timing of a silent-screen star; Rogers’ simple, knees-up leap as he exited the stage, seemingly bound toward the heavens; her believable transformation into a floppy-armed doll; their beautiful lift work in the Act III pas de deux, including one in which she’s, seemingly by some magic, suspended horizontally behind his shoulders. (Rogers is leaving PNB this month after three seasons to take a position at Semperoper Ballet in Dresden, Germany; his athleticism and charisma will be very much missed.)

 

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Richmond Ballet announces its 2024-25 season.

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The season opens in September with Studio Finale, a farewell to and celebration of the Ballet’s in-house 250-seat Studio Theatre. The company began performing in this space in 2001, after renovating the Reynolds Metals building at 407 E. Canal Street in 2000. These final Studio Series performances will feature the revival of audience-favorite What’s Going On, a ballet by Val Caniparoli that premiered in the Studio Theatre in May 2022 and examines many of today’s most provocative societal issues, and a world premiere by Ma Cong.

 

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