by Jennifer Fournier For classical ballet, an art form born in the court of the aristocracy, rank is foundational. Hierarchy is embedded in the canonical works, populated as they are by peasants and gypsies, and dukes and princesses, and in the companies themselves where the principal dancers quite literally reign, onstage and off. But while
by Sanjoy Roy Everyone “knows” the story of Frankenstein: mad scientist, lightning, monster, kill, kill. Of course, James Whale’s classic film is very different from Mary Shelley’s classic novel, but that skeleton of a plot is common to both. The same is true for Liam Scarlett’s new full-length work for the Royal Ballet (co-produced by
by Allan Ulrich In 1987, the third year of his tenure, San Francisco Ballet artistic director Helgi Tomasson commissioned from the young William Forsythe a dance called New Sleep, which was like nothing ever seen previously on the stage of the War Memorial Opera House. This was movement theatre before there was a name for