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.”
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.
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.
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 […]
Experiencing a Matthew Bourne ballet is like indulging in a whole box of Christmas crackers from Harrods – stuffed with surprises. It also reminds me of reading something by the late writer Vladimir Nabokov – yes, might we say “positively Nabokovian” – dazzling in the layers and turns of the story but always with a […]
America may be in a new cold war with Putin, but the Washington Ballet this week takes Russia into a white-hot embrace.
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.
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.