Youngish choreographers, new and established, will bring three works to the Cobb Energy Performing Arts Centre this weekend in Atlanta Ballet’s season closer, Director’s Choice. The mixed bill shows efforts toward diversity and inclusion as well as artistic director Gennadi Nedvigin’s connections to the dance world’s top young talent. The program includes two works commissioned…
In the style of New York City’s popular Fall for Dance Festival held annually at City Center (now entering its 16th season), Atlanta’s fourth biennial Off the EDGE highlighted a range of contemporary dance and welcomed nationally and internationally renowned companies — from emerging to established — to perform alongside local artists. From sandwich-making to…
It’s a balancing act — to produce a contemporary dance festival in a city as restless and multifaceted as Atlanta. In the city’s ever-shifting dance landscape, how do curators align efforts to bolster local groups, present ensembles from similar-sized regional cities and show major international companies rarely seen in Atlanta? How do we answer the…
In 2012, then-Atlanta Ballet artistic director John McFall announced a three-year partnership with Israeli choreographer Ohad Naharin in an effort to modernize the company’s repertory and attract a younger crowd. Despite the real risk that producing more contemporary work could alienate the ballet’s core audience, the board of trustees signed off on the long-term agreement….
For a century and a half, a handful of Russian classical ballets have been staged, restaged, reworked and reimagined. A testament to the staying power of aristocratic opulence and escapism on a grand scale, these are the ballets that continue to define ballet in our collective conscious: tutus, palaces, toys coming to life, innocent (if…
Make no mistake: the tides have shifted at Atlanta Ballet. Since Gennadi Nedvigin, a celebrated dancer with San Francisco Ballet, took the reins from 21-year veteran artistic director John McFall last year, the company has undergone a very public changing of the guard. “Gennadi’s Choice,” Atlanta Ballet’s triple bill that played at the Cobb Energy…
“O Fortuna,” the iconic opening and closing section of Carl Orff’s “Carmina Burana,” is huge. Not Trump-speak “huge,” but huge in the way of crushing tsunamis, epic battles and great love. Composed in 1937, the piece has since become a pop culture staple appearing in countless advertisements, films and film trailers and television shows, recently…
In a final tribute to John McFall’s 21-year legacy as Atlanta Ballet’s artistic director, the company’s 2015-16 season closed with MAYhem: Kissed, a triple bill that proved as eclectic and eccentric as the man himself. The program — a quirky contemporary ballet, an experimental world premiere and a new classic performed over the weekend at…
Five years after its much-anticipated world premiere, Twyla Tharp’s The Princess and the Goblin has returned home. Created for Atlanta Ballet in 2012 and co-commissioned by the Royal Winnipeg Ballet, Tharp’s take on George MacDonald’s 1872 fairytale of the same name hits all the family-friendly high notes: good defeats evil, cute kids skip in tennis…
Now nearing the end of its final season under the longtime artistic direction of John McFall, Atlanta Ballet presented 20/20 Visionary, an all-over-the-map triple bill promising “a mash-up of cultures and styles reflective of the vibrant diversity of [Atlanta].” Only one of the pieces performed at the Cobb Energy Performing Arts Centre last weekend referenced…
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