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.
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.