“I always think of our audience,” says Meg Booth, director of dance programming for the Kennedy Center. “There are always some attending their first performances, and subscribers of 20 and 30 years who have seen it all and want to be challenged.”
Justin Peck’s “Pulcinella Variations,” an ecstatic circus of the soul, made its sensational D.C. debut Tuesday in an altogether winning evening of mixed repertory by the New York City Ballet.
“With any new endeavor,” said Washington Ballet’s Artistic Director Julie Kent before Friday night’s performance, “there is an element of risk – and excitement.”
“’Deru kugi wa utareru.’ Dad first said it to me. ‘The nail that sticks out is the one that gets hit.’ It’s an old Japanese proverb. To stay out of danger or harm’s way, one must conform. One must obey. One must be … inconspicuous.”
The Nunes memo, election tampering by Russia, the refugee crisis, mass shootings, harassment and molestation, Olympic doping, North Korean nukes, climate change, fascism, nationalism, racism, terrorism… We interrupt our regularly scheduled dread for Alexei Ratmansky’s Whipped Cream, a ballet about pastries.
“I hear you’re a son of a bitch,” said Jerome Kern, introducing himself to a producer. “So am I.” But he was one productive son of a bitch, composing more than 700 songs in collaboration with an all-star rotation of lyricists, among them Oscar Hammerstein II, P.G. Wodehouse, Ira Gershwin, Dorothy Fields, and Johnny Mercer.
“Life is not like your American movies,” says Lise, a ballerina who has captured the hearts of three men. “Why not?” asks one of those men, Jerry, an American soldier turned painter in Paris at war’s end in 1945. That question is the emotional core of the utterly charming, Tony winning musical An American in […]
Parting really is sweet sorrow as The Suzanne Farrell Ballet, after 17 years, offers its final performances this week. Its budget and company size have been unsteady, but you’d never know it from Thursday evening’s stirring, polished swansong performances of Balanchine classics.
There is finally something happening on Pennsylvania Avenue to bring Washington some bipartisan joy. No, not there. A couple blocks away, at the Warner Theatre, where Clara and her prince vanquish an army of rats and celebrate with plum fairies.
Peter Pan and Captain Hook should see a therapist together. How can they not realize by now that their commonalities are greater than their differences? Both are childish, boastful, and untrustworthy. They distance those close to them. They substitute violence for introspection and romance. They generate chaos in a narcissistic bid to be the center […]