A New York Triple

On April 22, the Mark Morris Dance Group returns to BAM with two programs of new works, including Morris’s take on The Rite of Spring, which he calls Spring, Spring, Spring. If you want to know why, check out my preview feature for the Times:

The Mark Morris Dance Group in Spring, Spring, Spring.
The Mark Morris Dance Group in Spring, Spring, Spring.

Christopher Wheeldon’s new musical An American in Paris opens on Broadway on April 12. I spoke with him about the challenges of adapting the movie for the stage for this piece, and also to Robert Fairchild and Leanne Cope. Curious?

 

 

Leanne Cope and Robert Fairchild in An American in Paris. Photo by Matthew Murphy
Leanne Cope and Robert Fairchild in An American in Paris. Photo by Matthew Murphy.

 

And finally, a review of two flamenco shows, Soledad Barrio and Olga Pericet, at Joe’s Pub and the Repertorio Español. About as different as two flamenco shows can be.

Olga Pericet by Michael Palma.
Olga Pericet by Michael Palma.

 

Emilio Florido and Soledad Barrio in Cambio de Tercio. By Kevin Yatarola
Emilio Florido and Soledad Barrio in Cambio de Tercio. By Kevin Yatarola

A queer-looking party…

Elena Lobsanova and the National Ballet of Canada in Christopher Wheeldon's "Alice's Adventures in Wonderland." Photo by Bruce Zinger.
Elena Lobsanova and the National Ballet of Canada in Christopher Wheeldon’s “Alice’s Adventures in Wonderland.” Photo by Bruce Zinger.

Since I’m not officially reviewing the National Ballet of Canada’s performances of Christopher Wheeldon’s ballet Alice’s Adventures in Wonderland I’ll just say this (after seeing it last night): I think it’s a great show. What I appreciate the most, I think, is the rare combination of lack of pretense and directness with a very very high level of craft and taste and execution. It’s something we don’t see nearly enough of: very high quality (and sophisticated) popular entertainment. That goes for the music (by Joby Talbot), the designs (by Bob Crowley), and the dance. Also, it works so well as a whole, with each element balanced against the others. It’s a little long, a little frenetic at times, and sure, it’s not Ashton’s Cinderella, but it’s very good, and that’s already a lot.