October 11, 2004 |
New York City Ballet closed its two-venue Southland visit over the weekend with performances at the Dorothy Chandler Pavilion that balanced the familiar mastery of early and late works by George Balanchine with the novelty of a recent, splashy kiddie-ballet by resident company choreographer Christopher Wheeldon.
February 16, 2006
Four of the most prominent classical dancers on Western stages gather for "Kings of the Dance" this weekend at the Orange County Performing Arts Center. No Parisians or Cubans are on the roster, which immediately makes the event incomplete, but expect plenty of firepower from Angel Corella (American Ballet Theatre), Johan Kobborg (Royal Ballet), Ethan Stiefel (ABT) and Nikolai Tsiskaridze (the Bolshoi Ballet).
December 24, 2004 |
ROSE EICHENBAUM looks and listens with equal skill, so her new book, "Masters of Movement: Portraits of America's Great Choreographers," supplies insights as striking as her images. Here are interviews that set the seal on distinguished careers as well as photographs that capture the essence of an artist's public identity. Some of the 59 people she includes aren't really choreographers.
October 11, 2003 |
By the time this review is published, it'll be too late to see San Francisco Ballet's mixed bill at the Dorothy Chandler Pavilion -- a pity, since this four-part program (scheduled only on Thursday and Friday) showcased the company's multifaceted excellence far more persuasively than its undistinguished new "Don Quixote."
May 26, 1997 |
Dancers who convey a rich inner life are as fascinating as they are rare--and the recast Royal Ballet "Ravel Evening" offered a prime example in Sarah Wildor, Friday at the Orange County Performing Arts Center. Dancing one of the unnamed leads in Kenneth MacMillan's "La Fin du Jour," she matched her scrupulous attention to the choreographic text with an ability to put her signature on the role: subtle, mysterious, shaped from within.
December 20, 2009 |
Throughout the first decade of the 21st century, impatient dancers, choreographers, critics and audience members all hoped that a new breed of innovators would appear to transform theatrical dance the way that Russian impresario Sergei Diaghilev radically renewed and updated classical ballet in the first decade of the 20th. We're still waiting. Where are the bold, young choreographers creating imperishable dances, the adventuresome composers and designers venturing off the middle of the road?