December 6, 1992 |
IT WAS ONLY A GLASS OF VODKA THAT HE LIFTED BEFORE A hushed audience at Lincoln Center last year. But for Peter Martins, artistic director and top boss of the New York City Ballet, the shot glass he grasped on stage that evening might as well have been the Holy Grail. The curtain was about to rise on his ambitious restaging of the classic "Sleeping Beauty."
June 16, 1992 |
With an American flag waved atop the "Napoli" wedding cart, the Royal Danish Ballet said goodby to Southern California at the Performing Arts Center on Sunday. This was also the final complete "Napoli" for company principal Nikolaj Hubbe before he joins New York City Ballet, and even those familiar with his high-Romantic fervor in the Bournonville repertory had cause to find it a special occasion.
October 9, 1993 |
New York City Ballet has announced casting for its Oct. 14-24 engagement at the Orange County Performing Arts Center. * Oct. 14, 8 p.m.: "Sleeping Beauty" (Peter Martins, after Petipa/Tchaikovsky): Darci Kistler (Aurora); Damian Woetzel (Prince Desire); Merrill Ashley (Carabosse); Wendy Whelan (Lilac Fairy). * Oct. 15, 8 p.m.: "Sleeping Beauty": Kyra Nichols, Lindsay Fischer, Teresa Reyes, Maria Calegari. * Oct. 16, 2 p.m.
May 17, 1995 |
A fascinating study in creative misalliance turns up tonight on the PBS "Dance in America" series. Documenting a collaboration between composer Wynton Marsalis and choreographer Peter Martins, "Accent on the Offbeat" highlights the loose, improvisational creative process Marsalis encourages in his ensemble of jazz musicians versus the more rigid working methods that Martins enforces at New York City Ballet.
October 18, 1993 |
Another night, another "Beauty." Familiarity may not breed contempt when it comes to Peter Martins' hectic production of Petipa's fairy-tale classic, but it doesn't enhance enchantment either. As staged two years ago by the New York City Ballet, this "Sleeping Beauty" moves brightly and briskly over the stage of the Orange County Performing Arts Center. Yet no matter who plays what, it doesn't seem to move very poignantly.
October 25, 1993 |
George Balanchine always prized black swans. For the 1940 film comedy "I Was an Adventuress," he created a disarming "Swan Lake" sequence with Odette wearing a black tutu and the swan corps clad in traditional white. Forty-one years later, in his final production of the second act for New York City Ballet, he reversed that look--keeping Odette in white but surrounding her with 30 swans in gossamer black.