★★★★ It’s comforting to know that at even my advanced age I can still be confounded even by hoary old Swan Lake.
★★★★ There was always something new around the corner, a surprising shape, a witty step, an unlikely transition. It’s clear that Ratmansky felt liberated by the unusual structure and soundscape…
★★★★ It’s not the kind of work that will persuade anyone that ballet can be a subtle, nuanced and poetic art, but it is cracking entertainment and a treat in a dreary month.
★★★★ Hampson has created a naturalistic and, above all, a graceful and harmonious set of steps. It’s all so unforced, but it feels right and creates a beautifully rounded and satisfying production.
★★★★ The dancing is so enjoyable, the comedy so appealing, that any flaws in the story telling are easily overlooked.
★★★★ …exemplary performances from Momoko Hirata as Giselle and César Morales as Albrecht make for a richly rewarding and moving experience.
★★★★ It is all too easy to assume that the first triple bill of the Royal Ballet’s autumn season celebrates its creative heritage from the 1960s. In fact, two of the ballets were made for other companies…
★★★ This three-act three-hour-long Paquita is a brainchild of Smekalov, who is a second soloist with the company. He wrote his own libretto, largely borrowing from the Cervantes novella La Gitanilla…
★★★★ It makes a noticeable difference when Litton, music director of the company, is in the pit; the orchestra has presence and sings, providing a convincing counterpart for the dancing.
★★★ A 3 star production with 4 star performances…
★★★★ The show overall gave us a good slice of what ballet is in 2019, and just how adaptable the students need to be these days – exciting times for them and exciting for us in the audience as well.
★★★★ This production proposes that Sleeping Beauty is not really the story of a love quest – as it’s often depicted – but rather a fable about order and disorder, harmony and disharmony, the balance between good and evil.
★★★★ the man of the moment on opening night was Igor Tsvirko as Spartacus whose stamina, elevation, turns, partnering, and fouettés were staggering in their execution.
★★★★ Days after the performance, I cannot get James Whiteside’s Ali out of my head. Devon Teuscher’s Medora is charming and warm, pulling off triple fouettées turns and her Italian fouettées with aplomb…
★★★★★ To my eye, this Harlequinade may be the most well-rounded of Ratmansky’s historically-minded stagings of Petipa.
★★★★ As if an Ashton rarity weren’t reason enough to catch this program, there was also the presence of Marcelo Gomes, former much-admired principal dancer from American Ballet Theatre, to recommend it.
★★★★ When Kent took the helm of Washington Ballet …one of her goals was to raise the standard of classical technique and shape the company into a world-class ballet institution. Judging by this production, she is on the right track.
★★★★ Alston’s choreography is formal in that it has structure, style and steps, instead of resorting to running in circles. Its partnering etiquette is courteous rather than abusive.