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Christopher Wheeldon

Ballet Festival: Program A

August 10, 2019

Joseph Sissens in Sir Frederick Ashton’s “Dance of the Blessed Spirits,” in The Joyce Theater’s Ballet Festival (Program A) (Photo credit: Maria Baranova)The Joyce Theater is presenting a two-week Ballet Festival, four programs under the artistic direction of Kevin O’Hare, director of The Royal Ballet.  Each program is curated by a different dance expert, the first by O’Hare, himself.Program A was divided into two parts, the first the more sedately classical, the second showing newer, more contemporary fare.  It was a fascinating, focused study of the state of ballet today, featuring, appropriately, two works by the British master of classical ballet, Sir Frederick Ashton. [more]

The Sarasota Ballet: Summer 2018

August 17, 2018

The Sarasota Ballet, under the direction of Iain Webb, a former leading dancer with the Royal Ballet, has, to the benefit of the dance world, been collecting works by the British master choreographer, Sir Frederick Ashton.  Even Ashton’s artistic home base rarely performs his work, despite the fact that that troupe’s elevation from Sadler Wells Ballet to Royal Ballet was largely due to Ashton’s efforts.  (The troupe’s repertory also includes works by Ashton’s contemporaries, such as Antony Tudor, Dame Ninette de Valois, Agnes de Mille and Michel Fokine.) [more]

Fall for Dance 2017

October 10, 2017

Michelle Dorrance, this troupe’s director, has become a force in tap dance because she understands both its legacy and its future. She played Pied Piper to a large troupe of very talented dancers who were all given opportunities to shine and create moods that varied from sexy to flirtatious to hilarious and sad. With additional choreographic contributions by Ephrat “Bounce” Asherie and Matthew “Megawatt” West—fine soloists—“Myelination” ebbed and flowed as soloists floated out of groupings of the twelve dancers to express themselves in brilliant bits that combined tap with modern dance, jazz, break dancing and even a touch of ballet. [more]

The Royal Ballet 2015: Program B

July 3, 2015

he Royal Ballet’s second program of its ridiculously short season at the David H. Koch Theater was disappointing as much for what was on it as for what wasn’t. What wasn’t there were any classical works. Among divertissement-type short works making up the second part of the show, there was not one classical Pas de Deux. Instead, the program opened with an abstruse modern ballet and ended with an equally abstruse new version of an old one with six very short works of varying quality and appropriateness sandwiched in between. [more]

Christopher Wheeldon in Conversation with Rita Moreno: From Ballet to Broadway

April 30, 2015

On April 27, Symphony Space and Words on Dance presented “Christopher Wheeldon in Conversation with Rita Moreno: From Ballet to Broadway,” a delightful romp through the dancing career of one of Broadway’s brightest choreographers. The lecture was moderated and led by Oscar, Emmy, Tony and Grammy winning actor-singer-dancer Rita Moreno. Moreno’s conversation with Wheeldon was prompted by a series of film clips featuring him as a young dancer as well as brief segments of his past choreographic work with the New York City Ballet, the San Francisco Ballet, the Royal Ballet, the Joffrey Ballet, the Wheeldon Company, and his most current work in the new Broadway production of "An American In Paris" where he serves as both director and choreographer. It is the fusion of his classical European ballet training, his love for American music, American dance stars, and American dance that Wheeldon has established himself as a leading force in the world of dance. [more]

An American in Paris

April 19, 2015

The director/choreographer Christopher Wheeldon has re-envisioned this icon with a panache that borders on the genius, fulfilling the promise he showed with his extraordinary choreography for the 2002 "Sweet Smell of Success." This time around, from the windswept opening sequence, with its thumbnail sketch of W.W. II history to the breathlessly simple fade-out, it was clear that Wheeldon was in total command of his material, illuminating all of "An American in Paris"’ emotional twists and turns. [more]