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.
A tale of unrequited love is also a meditation on the anguish and ecstasy of art in Hamburg Ballet’s exquisite The Little Mermaid. The dance theater tour de force by John Neumeir, the company’s artistic director since 1973, had its Washington premiere Tuesday night to a well-deserved standing ovation.
“These people make me tense,” sings Leo Frank early in the dark musical Parade. “It’s like a foreign land.” If 1913 Atlanta feels alien to Frank, a transplanted New York Jew and the well-educated, bookish superintendent of a pencil factory, he feels alien to Atlantans, too. When a 13-year-old girl is found murdered in the […]
Later this spring, the Washington Ballet will present 20th-century and contemporary works, as well as premieres, by choreographers including Jiri Kilyan, Justin Peck, William Forsythe, George Balanchine, Alexei Ratmansky, Twyla Tharp, Ethan Stiefel, and Antony Tudor. The company starts the season off, however, with a consummate production of a treasured 19th-century gem, Giselle.
“We both may be susceptible to full moons,” a sophisticated Virginia ingénue, Leslie (Betsy Morgan), tells a Texas rancher, Bick (Lewis Cleale), when he visits her home to buy a horse.
“What you like about brains,” a Czech emigrant classics student named Lenka tells the Communist Cambridge philosophy don Max in Tom Stoppard’s Rock ‘n’ Roll, “… is that they all work in the same way. What you don’t like about minds is that they don’t.”
“We never know when our feelings will creep up on us and go boom and startle us,” says the character Mother to her friend Tateh in Ragtime.
“The show is about WOMEN … not about theater,” writer/producer Jeanie Linders says in a press-kit Q&A about Menopause: The Musical. OK, then how to evaluate it? Women? Two thumbs up! Five stars! Must see! But this show? Dismal.