Forward to Petipa

“Honestly, I just can’t stand seeing productions of the classics any more, because I know how far it is from Petipa’s intentions,” Alexei Ratmansky told me a few months back, when we began discussing preparations for his new Sleeping Beauty, based largely on his interpretation of historical sources. He said many other things too. You’ll find them here, in this extensive q&a.

 

Alexei Ratmansky in Sleeping Beauty rehearsal.Photo by Rosalie O'Connor.
Alexei Ratmansky in Sleeping Beauty rehearsal.Photo by Rosalie O’Connor.

ABT Marks 75 years

Gillian Murphy and Marcelo Gomes in Pillar of Fire. Photo by Marty Sohl.
Gillian Murphy and Marcelo Gomes in Pillar of Fire. Photo by Marty Sohl.

In its first week, the company performs works from its first decade. See my review of two programs here.

Ashton in Sarasota

Sarasota Ballet in Frederick Ashton’s Illuminations. © Frank Atura.
Sarasota Ballet in Frederick Ashton’s Illuminations.
© Frank Atura.

I’m just back from the Ashton festival at Sarasota Ballet, a four-day tribute to the choreographer. Under the directorship of Iain Webb, the company has been undergoing a major expansion over the past few years. By any measure, the festival was a big success, with strong performances, expressive dancing, and a powerful sense of style and common purpose.

You can read my review for DanceTabs here.

And a short excerpt: “The advantage of putting all these ballets on the stage in quick succession is that the audience begins to see all sorts of interconnections and motifs running through the works. Thus, in Monotones II (1965), there is an echo of the slow trio near the beginning of Valses Nobles et Sentimentales, in which a woman is slowly revolved by two men and shown from all angles, the center of a slow-moving planetary system.”

A Year Ago…

A year ago I got to meet one of my childhood idols, Mikhail Baryshnikov, and interview him about his art collection. My heart stopped a little bit each time he opened his mouth to say something. It was, and still is, a highlight of my writing life. Here’s the piece that came out of that conversation.

And one of my favorite works from his collection,  Nikolai Lapshin’s Novgorod.

nl-picture-novgorod-blury-tree_1000

Susan Jones, or, the Art of the Ballet Mistress

Susan Jones cooaching "Paquita."
Susan Jones cooaching “Paquita.”

Here’s my interview with Susan Jones, a ballet mistress at American Ballet Theatre in charge of the corps de ballet. Jones joined ABT in 1970 and stayed for nine years. In that time, she danced every corps role in the rep, plus Lizzie in Fall River Legend, Cowgirl in Rodeo, and a few other choice parts that suited her dramatic side. She quickly showed a skill for remembering steps, which became handy when working with Twyla Tharp on Push Comes to Shove. Baryshnikov made her a ballet mistress, and she never left. This fall, she is re-staging Tharp’s Bach Partita, which hasn’t been done for almost thirty years.