Flash forward deep into the pandemic and the height of streaming theater while lying on a couch, I thought a lot about live, in-person stage chemistry.
Ballet Austin’s spring season at the Long Center for the Performing Arts is composed of a mix of comedic, contemporary and canonical ballets that range from Artistic Director Stephen Mills’s A Midsummer Night’s Dream (February 11-13), to Her Stories (April 1-3) with unique works by three female choreographers, to the traditional Swan Lake (May 6-8).
If conversation can truly rise to an art form, Rice University’s Moody Center for the Arts has proven a most creative ground for such an idea-exchanging medium.
North Texas has a new ballet company, but don’t expect a production of Swan Lake or The Nutcracker. “I love those ballets; I’ve performed them as a professional,” says Diana Crowder, Artistic Director and Founder of Pegasus Contemporary Ballet.
Even once the show goes on, the director’s work is still not done. This has become especially true for the Tony winning director of Hadestown, Rachel Chavkin.
If 2020 into 2021 was the ultimate annus horribilis, the year really became the worst of times for that most ephemeral and impermanent of arts, live performance.
It will come as no surprise to anyone who knows her that Danielle Georgiou—who is perhaps the most eclectic choreographer in the DFW dance space—is already ramping up for a packed summer and fall season.