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 […]
Love is tragic and sumptuous in the Mariinsky Ballet’s La Bayadère. At the Kennedy Center this week, under director Valery Gergiev and acting ballet director Yuri Fateev, the production – its sets (by Mikhail Shishliannikov) vast, its costumes (by Yevgeny Ponomarev) sensual and splendid – has a remarkable grandeur. The very size of the company […]
America may be in a new cold war with Putin, but the Washington Ballet this week takes Russia into a white-hot embrace.
Your mission: Venture to the land of Adams Morgan until you see a temple at 16th and Fuller. From Fuller turn right at Mozart Place, past the construction, into the auto-gated parking lot. Then look for the signs. Not enigmatic Dan Brown-ish signs, but actual printer paper taped here and there, with arrows, saying “Magic […]
The Kennedy Center Thursday night featured Teutonic offerings across a wide spectrum. In the Concert Hall, the National Symphony Orchestra was performing Beethoven’s Ninth. Next door at the Opera House, an audience was Von Trapped in The Sound of Music. And at the far end, in the Eisenhower Theater, an East Berlin-born transsexual was squatting […]
In a formidable and diverse program Tuesday night, the New York City Ballet juxtaposed affable athleticism with social and romantic tensions. The former was represented by two Balanchine classics, Square Dance and Tarantella, and Aaron Copland’s Rodeo, reimagined by choreographer Justin Peck. The latter infused Alexei Ratmansky’s disquieting Odessa in its Washington premiere.
Christ’s last mortal days are a “strange thing, mystifying” in Tim Rice and Andrew Lloyd Webber’s 1970 Jesus Christ Superstar. But as conceived by director Joe Calarco in Signature Theatre’s new production, they’re a little stranger and more mystifying than they need to be — that despite generally solid performances and an excellent musical team.
Life flies by, jeering at our measly accomplishments, even as it drags on endlessly, hour after weary hour. Love is elusive and taunting. Loneliness is an ever-present scourge, but company is bothersome. Pride is foolish, but its absence is hideous. Life without work is meaningless, but, then, so is work. The pained past has been […]
What’s more invigorating than one boundary-pushing ballet company? Three! Wednesday’s audience at the Kennedy Center’s Ballet Across America series was treated to a varied and impressive, though uneven, evening with Nashville Ballet, Jeremy McQueen’s Black Iris Project, and Complexions Contemporary Ballet.
Had I not seen Chicago’s run at the National Theatre eight years ago, maybe I’d consider the current production at the Kennedy Center great instead of good. But I did, so I don’t.