In the world according to “LAC (After Swan Lake),” a trashy reinterpretation by Jean-Christophe Maillot for Les Ballets de Monte Carlo, there are two types of women: the kind you marry and the kind you sleep with. April Ball’s primal Black Swan is a predator. Her mother, known as Her Majesty of the Night (Maude Sabourin), is even more overheated. – April Ball (Black Swan) in LAC, Les Ballets de Monte Carlo, April 2014. © Dave Morgan
Edgar Degas (French, 1834-1917) – Two Dancers Entering the Stage, c.1877-78 (Pastel over monotype in black ink on white modern laid paper, discolored to tan. Harvard Art Museums/Fogg Museum) – Degas, while focusing on the first two dancers, cuts off the third dancer which contributes to the depiction of motion across the canvas. In spite of their exquisite costumes, these are probably young working-class dancers from the corps de ballet as opposed to principals…
Nobody speaks, is betrayed, dies or goes mad in Jerome Robbins’s ballet “Dances at a Gathering,” but this hour-long, pure-dance work, set to an anthology of Chopin piano pieces, is nonetheless a multilayered masterpiece of theater… – Tiler Peck, Sara Mearns and Brittany Pollack of New York City Ballet in 2014 in “Dances at a Gathering” Credit Andrea Mohin-The New York Times
The subject of death and its impact on those left behind is not an unusual one for choreographers. Song of the Earth is an observation and commentary on the inevitability of death as part of the life process. In it, MacMillan emphasizes the universality of death, with the emotional turmoil camouflaged and muted through until the end… – Marianela Nuñez, Samantha Raine, Sarah Lamb and Lauren Cuthbertson in Song of the Earth, choreography by Sir Kenneth MacMillan, The Royal Ballet – Photograph by Dave Morgan.