(danceeurope.net) It’s not often that I get to use the word “master” writing about anything but here it is. A new, full-length ballet choreographed by the great Christopher Wheeldon of “An American in Paris” fame composed to the music of Joby Talbot who has worked with Wheeldon before on another of his full-length ballets, “Alice’s Adventures in Wonderland.” Talbot’s score, full of orchestral color and percussion, fulfilled the ballet’s story perfectly. It was a music/ballet partnership that reminded us of Stravinsky and Balanchine. Dancers in the main roles alternated every performance–surely a tour de force for a company. The performed the challenging gorgeous choreography at the highest level.
(thetimes.co.uk) We were looking forward to seeing this and it did not disappoint. As we had both seen and read Shakespeare’s “The Winter’s Tale,” we wondered how they would handle this odd story with some fantastical elements. We need not have worried: they stuck to evoking the emotions and cut way back on the plot–always a good idea for ballet. Bob Crowley’s costumes–whether from the settings in Bohemia or Sicily–struck a wonderful ethnic note, with men’s long coats swirling as they leaped.
(danceeurope.net) Co-produced by the National Ballet of Canada and the Royal Ballet, the majestic production sported a full orchestra pit and a stage full of dancers. Is it cost that prevents us from doing a big new ballet like this here?
Because of the Lincoln Center Festival’s scheduling, we saw it on one of only four nights/days that it was offered, so I can’t even suggest that you see it, which is too bad. But I do suggest that you try to catch “An American in Paris” before it closes and that you look for these two names–Christopher Wheeldon and Joby Talbot as you skim the season’s dance and music offerings.
We paid $35 plus fees for our seats in the Third Ring Side and saw everything on stage at the Koch (formerly State) Theater.