I was mesmerized by the coherence of the shifting patterns, their ideas so clearly presented, even though the work by no means provided more than a suggestion of a story.
As might be expected from a choreographer who has created 140 dances, the varied program served as an annotated guide to Paul Taylor’s inquisitive and often dangerous imagination.
Director Scott Edmiston’s carefully staged production generates sympathy chiefly because of some deft acting rather than the writing.
Other than the teams that put together Rent and Wicked, film-makers have taken ‘creative’ control, turning Broadway into the land of retreads.
Dramatist Nina Raine probes the complex nature of tribal affinities, delicately examining how precariously communication depends on whether people listen to one another carefully, or not.
Two current productions in the Berkshires — “Master Class” and “Hapgood” — feature excellent performances from powerful and accomplished actresses.
This exhibit dedicated to Diaghilev and The Ballets Russes is well worth a trip to Washington D.C. because of the amazing objects on display.
Despite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
Frederic Franklin was the repository of much of the tradition of 20th century ballet, and he carried on these values by personifying the essence of the genre.
A two week stay in Paris, April 11 through 26, delivered the sights and sounds crooned about in the well-known songs.