October 18, 1994 |
Then, she was cherished across Egypt for her beauty and her brains. Now, the queen known to history as Nefertari is reaching across more than 3,000 years to raise some provocative questions about the future. What in the world among the myriad relics of yesterday is worth conserving for coming generations? Save that building? Save this feather? And, since it's impossible to save everything, what should time and old age be allowed to have their way with?
September 5, 1994 |
An outdoor setting doesn't necessarily require simplicity of means or concept. But Naomi Goldberg must have felt it does, because she drastically and disturbingly simplified her usually interesting choreography to the point of its becoming threadbare and insipid when her Los Angeles Modern Dance and Ballet troupe introduced her new "Three Tales" Saturday at the John Anson Ford Amphitheatre.
January 7, 1994 |
If the term "bare root" gives you the shivers, you're not alone. It takes guts to shell out for some leafless, lifeless-looking twigs, and a wizard's eye to envision them as the rosebush or peach tree pictured on their tag. For those willing to take the plunge, the most appealing payoff may come in dollars. Bare-root plants--those sold in a dormant state, without benefit of soil or pot and possibly wrapped in a plastic bag--cost one-third to one-half less than they will in spring.
November 14, 1993 |
A case could be made that Susannah Moore is fundamentally a writer about place--about the tug of places and the need to flee them; about how in the end they heal us. She brings her unique vision to her native Hawaii, imbuing it with atavistic powers. In "Sleeping Beauties," Moore's main character, Clio, still has a totemic animal, the lizard, remarkable for its adaptability: "Modest, small, nocturnal. . . . He demands very little. He does great service."
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 16, 1993 |
Once upon a time, dear children, in the dark and distant age when people weren't in a constant rush, there was a wondrous, slow-moving Russian ballet called "The Sleeping Beauty." Marius Petipa devised choreography that ennobled every lofty quiver and quaver in Tchaikovsky's lush score. This coming-of-age fairy tale on point entailed three acts plus a prologue.
October 10, 1993 |
Choreographer George Balanchine revolutionized ballet in this century, changing the way ballets were made and the ways dancers looked. He shaped the New York City Ballet into the primary vehicle for his innovations, directing the company from its founding in 1948 until his death in 1983 and creating for it hundreds of works. The company also became the training ground for producing Balanchine ballerinas--a special kind of thoroughbred. Suzanne Farrell was the archetype.
August 8, 1993 |
In the relentless homogenization of Europe, it's getting harder and harder to find a place where "differentness" hits you in the face. The first time I stumbled into this Eastern European town, it looked for all the world like a place that had settled down to sleep somewhere around the Renaissance and then forgot to wake up. No modern buildings, no neon, no Golden Arches, no traffic lights, not even a Coke machine.