"You can poke all the holes in the fourth wall that you want, but is it worth it when you’re already having such a good time with the playing itself?" ask Jeffrey Gordon Baker Continue Reading
A Streetcar Named Desire for Scottish Ballet is a model of narrative clarity. You can walk into the auditorium with no previous knowledge of Tennessee Williams’s play and never have a moment’s doubt as to who’s who, or what’s going on.
Not only does it crackle with Southern heat and sexual tension, but it’s a model of storytelling. No need to have seen the play or the film: everything is here, from the big themes of masculine-feminine, earth and air, to the smallest detail.
With an experienced librettist at Scarlett’s side, and better musical advice, Sweet Violets would have been a very different work.
The two stars are earned by the ensemble for bravery and devotion to a lost cause.
This is a work that is all about emotion and passion, and Scottish Ballet performs with lucid fervour and sincerity. Continue Reading
But most effective is the pure dance expression. There’s too little of it, perhaps, but Ochoa’s choreographic language can be shockingly truthful
It’s taken Goddard Nixon and Jose Agudo in this Spring Loaded double bill to make me realize how much I learned from two viewings of the 2010 blockbuster Inception. Like these two dance works the film delves… Continue Reading
The result is everything you could want of Tennessee Williams — florid, poetic, poisonously beautiful — while retaining a completely lucid plot, with Peter Salem’s jazz-based-melting-pot score providing just the right amount of New Orleans seasoning to the action.
I admire the muscular verve and unsparing eagerness of its cast – notably the men – but can find no choreographic virtues in it other than those of a cabaret of no great finesse
Ballet Revolución is a bit like watching an MTV miscellany while doing cardio in the gym: it pumps you up, delivers an endorphin high, and afterwards you feel rather exhausted.