Fewer words, more heart: Wheeldon underwhelms in TAB’s Oscar

Ako Kondo as The Nightingale in Christopher Wheeldon's Oscar

Jarryd Madden as Oscar in Christopher Wheeldon's Oscar

Adam Elmes and Jarryd Madden in Christopher Wheeldon's Oscar

The Australian Ballet in Christopher Wheeldon's Oscar

Ako Kondo and The Australian Ballet in Christopher Wheeldon's Oscar

Sharni Spencer and Jarryd Madden in Christopher Wheeldon's Oscar

Por Katie Lawrence, 10 noviembre 2024

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“no complaints can be made about the dancing or the aesthetics of Oscar”

Crítica hecha desde Sydney Opera House: Joan Sutherland Theatre, Sídney el 8 noviembre 2024

Oscar (Christopher Wheeldon)

The Australian Ballet

David Hallberg, Dirección de escena

Jean-Marc Puissant, Diseño de escena, Diseño de vestuario

Opera Australia Orchestra

Jarryd Madden, Bailarín

Adam Elmes, Bailarín

Ako Kondo, Bailarín

Sharni Spencer, Bailarín

La CND despliega un logrado tríptico neoclásico

Leonardo Mattana Ereño, 10th July

Tres coreografías de registros estilísticos homogéneos, pero capaces de reservar sorpresas gracias a las cualidades y el buen quehacer de la Compañía Nacional de Danza.

****1

Lucía Lacarra y Matthew Golding nos acercan las distancias

Jorge Baeza Stanicic, 23rd January

Lucía Lacarra y Matthew Golding, también afectados por la separación forzada, proponían una unificación de coreografías preexistentes en un todo unitario para compartir su experiencia vital, fusionando sus movimientos con imágenes proyectadas en pantalla y con una selección musical de carácter íntimo y profundo.

*****

Atlanta Ballet shines in a mixed contemporary program

Rebecca Ehrhardt, 3rd April

Atlanta Ballet's Golden Hour program featured two world premieres and the Atlanta premiere of Christopher Wheeldon's Within the Golden Hour.

*****

NYCB: Ratmansky’s The Naked King is not satire, but good fun

Ivy Lin, 7th February

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

****1

Les « Racines » inégales du Ballet de l’Opéra de Paris à Bastille

Laurine Mortha, 6th October

Entre une pièce des années 1950 de Balanchine et les deux créations récentes des chorégraphes Mthuthuzeli November et Christopher Wheeldon, le programme mixte néo-classique produit un effet mitigé.

***11

The Royal Ballet’s Like Water for Chocolate is sumptuous but complex

Amanda Jennings, 1st October

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

****1

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Katie Lawrence

Katie Lawrence has a background in ballet, jazz, and contemporary, and spent much of her adolescence in the dressing room of dance eisteddfods. She is still mildly triggered by the smell of hairspray. She is now a regular in Sydney's dance audience crowd and can often be found at Sydney Dance Company and Tanya Pearson adult classes.

Fewer words, more heart: Wheeldon underwhelms in The Australian Ballet’s Oscar