The painter Jacob Lawrence’s 60-panel Migration Series chronicles the exodus of more than six million African-Americans from the South to the North starting around 1916. The WPA-funded project was published in 1941 when he was 25. Step Afrika!, D.C.’s home-grown step dance company, takes spirited inspiration from these works in The Migration: Reflections on Jacob […]
It was 40 years ago that the Ballet Nacional de Cuba made its U.S. debut at the Kennedy Center and 30 years ago that it premiered its production of Don Quixote. It was 70 years ago that Alicia Alonso founded the company bearing her name that would become the Ballet Nacional after the 1959 revolution. […]
Brevity is not the soul of Saint Joan’s wit. Even at three and a half hours’ running time, however, the George Bernard Shaw classic never flags in Bedlam’s funky, spunky, stripped down version at the Folger Theatre. There are, however, some costs to the company’s insistently low-cost approach.
“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 […]