December 20, 2013 |
In this time when news is disseminated ever more quickly, we asked our critics to list the best of culture in 2013 in tweet form: 2013 was a busy year in dance. It was difficult to catch everything. But of those performances I did see, these 10 made memories. The launch of @TheBarakBallet gives talented L.A. choreographer Melissa Barak and her compelling dancers a needed home for her detailed rep. Before Ojai, @MarkMorrisDance was @VPACatCSUN, where fans gleefully lapped up 3 of Morris' exuberant, visionary pieces, spanning 30 years.
April 17, 2005
I read with genuine excitement Matthew Bourne's excellent commentary on his fine production "Play Without Words" ("What More Is There to Say?," April 10). As a ballet choreographer who has been crafting original narrative ballets for most of my career, it was a very welcome sign that concert dance may finally be returning to dramatic story. My ballet company, De'Ath Ballet, has been quietly producing narrative ballet for some 20 years. . I have often felt that I am operating in an absolute vacuum, and, as Bourne so correctly points out, almost no choreographers attempt it. Production costs are so high in these tough economic times that ballet companies steer away from new narratives in fear of poor box office.
October 3, 2012 |
"Swan Lake," in the hands of the Mariinsky Ballet, is an experience of classicism that few can duplicate 117 years after the ballet's premiere. The St. Petersburg dancers and orchestra returned Tuesday with their three-hour-plus, Petipa-Ivanov classic to the Segerstrom Center for the Arts (continuing through Sunday). In rougher quarters, "Swan Lake" dives into war horse territory. To contemporary choreographers, such as Matthew Bourne and Mats Ek, its anachronistic story of love between a prince and an enchanted swan-woman has been fertile and successful ground for outrageous revisionism.
September 10, 2006 |
ENDANGERED outsiders are central to the acclaimed full-evening dance dramas of Matthew Bourne, whether they're an alienated prince ("Swan Lake"), a shellshocked pilot ("Cinderella"), a reckless bisexual drifter ("The Car Man") or a waif trapped in a dismal orphanage ("Nutcracker!"). However, the most helpless outsider in Bourne's body of work just might be the childlike title character in "Edward Scissorhands," coming to the Ahmanson Theatre for a three-week run starting Dec. 12.
April 30, 1999 |
At 11 a.m. on a recent morning at the Music Center, Will Kemp appears to be shaking off the last vestiges of sleep, clutching a Styrofoam vessel of caffeine. He's teen-idol cute in baggy green utility pants, a loose-fitting sweater and running shoes, his dark hair slicked this way and that, green eyes clear as lake water, skin lightly tanned from a beach getaway with his aspiring singer-songwriter girlfriend Gaby Jamieson, who has accompanied him from London to L.A.
April 29, 1999 |
* British choreographer of "Cinderella," at the Ahmanson Theatre through May 23. No-Driving Range: I'm staying downtown in an apartment building that's convenient for getting to the theater. But the big problem for me here is that I don't drive. When I get back to London I think I'm going to learn. After Work: We tend to go down to Otto's, the restaurant at the Music Center just below the Dorothy Chandler Pavilion, for a drink.