North Korea’s nukes hurtle toward the U.S.—targeting both rural and urban areas—and we’ve got 15 minutes left to live, all the while being “monitored” by an unknown Russian operative who insists he is not a spy. Will we continue to bicker? Or raise a glass and drink one final toast to old (and new) friends […]
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.
So what’s going on at the Kennedy Center for the next Theatre* season? Everything. The freshest Broadway plays. One-day musical tributes. Theater in Dutch. And Norwegian. Hot directors. Bergman movies made into plays. The Book of Mormon! Hamilton! And, of course, Shear Madness.
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.
Minimal. Stripped-bare. Essential. Pure. Questioning. Uncomfortable. Profound. Spiritual. This is what you must expect when you experience a production by Peter Brook, one of the world’s great directors of the last seventy years.
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.
The best children’s shows for young audiences are often ones that are the most like silent movies: minimal talk, maximum action, and if you happen to miss any dialogue because of the rustle of a young crowd, you still get the essence of it. So it is with Grug and the Rainbow, making a 2 […]
Over the course of the next two months, the Kennedy Center will showcase the work of five of the theater’s preeminent directors from across the globe: Robert Lepage, Carlos Diaz, Sulayman Al Bassam, Peter Brook, and Lev Dodin.