It was at Oxford University that Burne-Jones found divine beauty and William Morris. They shared a love for medieval themes, what we now call Gothic Revival, and were attracted to the art of the Pre-Raphaelite Brotherhood. Founded in 1848, the Pre-Raphaelites were a loose confederation of young artists in revolt against the false veneer of academic art.
Today, because of her experience in such an extensive repertory, Berman is in demand as a regisseur, assisting choreographers in bringing their existing ballets to new audiences. This past month, she has been working with Walnut Creek’s Diablo Ballet, setting Christopher Wheeldon’s Mercurial Manoeuvres, which is part of the Inside the Dancer’s Studio program to be presented Friday and Saturday, March 2 and 3.
While the collection of eight stories has its highs and lows, Pritchard’s newest book offers an unforgettable tour through the author’s exceptionally rich prose worlds. From the suggestively self-reflective to the evocatively political, The Odditorium immerses the reader in stories woven from a dense and dynamic imagination, exquisitely executed and brilliantly textured.
GCI’s extreme customization options are nice, but aside from the “psychological profiles” option rewarding play styles that match disorders found in the DSM-IV, it’s not that unique. No, the big meaty difference here are the slipshod, homebrew gadgets that each of the imposters employ. From springy moon-boots, a pop-out hang glider, and a hand-cranked grapple gun, all of Batman’s traversal gadgets are present in a garage built form.
The movie is meant to be just a ridiculous comedy, but it actually points to many issues that people face every day. George and Linda want to live a certain life in New York because that’s how their friends live. Their willingness to ignore the tenuous financial position in which they will place themselves to attain that lifestyle barely registers in their thoughts.
The pacing is energizing and the dialogue at times is superb, even when it has little to do with the storyline. This is, in many ways, a cartoon. And it works best when viewed on that level.
Her duet with Giles, in which both dancers use stilts to place themselves on the same locus, invites us to meet a pair of post-Nijinsky characters, two women who move like languid praying mantises, fluid, deliberate, yet delicate, as they explore a sensuality between women, untested by the choreographers of Nijinsky’s time.
The world premiere of Mark Morris’s Beaux, set to Martinu’s Concerto for Harpsichord (1935), is a gentle work created for the company men. In contrast to the usual bravura leaps and beats normally used to showcase talented male dancers, Beaux explores different territory. In a Peter-Pan-and-the-Lost-Boys manner, Morris has the men create a visual picture of the hidden, light-hearted youth inside, and the sunny, patterned costumes and backdrop by designer Isaac Mizrahi underpin Morris’s intent. The dancers were equally matched, equally wonderful.